187 ADRIANA LECOUVREUR Opera in four acts ‘Music by Francesco Cilea Libretto by Arturo Colautti, based on a comedy-drama by Eugéne Scribe and E. Legouvé First performed at the Teatro Lirico, Milan, on November 26, 1902 (CHARACTERS ‘Adriana Lecouvreur, actress of the Comédie Frangaise: soprano “Maurizio, Count of Saxony, her lover: tenor The Prince of Bouillion: bass ‘The Princess of Bouillon, his wife: mezzo-soprano Michonnet, stage manager at the Comédie Francaise: baritone L’Abate di Chazeuil, a "wordly" Abbé: tenor ‘The Major-domo: baritone Members of the Comédie Francaise: Jouvenot: soprano Dangeville: mezzo-soprano Quinault: bass-baritone Poisson: tenor Actors, actresses, dancers, nobles, lackeys, theater personnel ‘The action takes place in Paris in 1730 For a better understanding of this opera, I reprint (with kind permission) an extract from George Jellinek's indispensable book "History Through the Opera Glass". (Pro-Am Music Resources, Inc.,1994, White Plains, NY) rama in Paris in the 1730's had enjoyed a period of unbroken successes since Moliére's time. Actors were very popular and were welcome in aristocratic salons despite the fact that the entre profession was under excommunication by the Church, which denied them burial in consecrated ground. ‘No theatrical personality shone brighter in those years than Adrienne Lecouvreur (1692- 1730), a bom actress who made a name for herself in her early youth, lived through several ‘tumultuous liaisons and made her debut at the Comédie Frangaise on March 27, 1717 in Crébillon's Electre. Applauding her, among others, was Voltaire, already a fervent admirer and, possibly a great deal more than that. ‘What Voltaire admired about Lecouvreur was her nearly revolutionary directness of communication, a style the contemporary Mercure de France summed up this way: "This book, a simply indispensable work for all serious students and lovers of opera, traces operatic stories in relation to the real historical events that engendered these libreti, enlightening us as to what is truly historical and also as to what has been embroidered, invented or misquoted by the libretsts. ‘An absolute MUST!188 "To her belongs the glory of having introduced simple, noble, and natural declamation and of banishing cant." Her roles encompassed many leading characters in the dramas of Racine, Comeille, Voltaire (Hérode et Marianne) and tei lesser contemporaries, sharing the spotlight on occasion with her principal rival, Mme. Duclos (Marie-Anne de Chateauneuf). ‘A crucial and ultimately tragic tum in this tragedienne's life occurred in 1721 when she succumbed to the undoubtedly considerable charms of Maurice de Saxe, a gallant soldier apparently irresistible to women but rather flexible in his morals and untamed in his ambition. Maurice was the legitimized natural son of Augustus II, King of Poland and Elector of Saxony and the Countess Maria-Aurora von Kénigsmark of Sweden. Enthusiastically embracing a military career, he fought in several campaigns, commanding his father’s regiments, and arrived in Paris as a celebrated hero in 1720. He was twenty-four, four years younger than Adrienne, and consumed with ambition to become the Duke of Couriand, a part of today’s Latvia, then under the suzerainty of Augustus Il, King of Poland, his father. Despite Russian opposition, Maurice persisted, with his father’s secret approval, in pursuing his ambition. To maintain his armies, which had been engaged in skirmishes ‘with Russian troops under the leadership of Maurice's rival, Prince Menshikov, heavy financial support was needed — and much of it came from the devoted Adrienne Lecouvreur. She pawned her diamonds and silverware for the cause, believing that Maurice would marry her, especially after 1727 wien he finally had to give up all hopes of obtaining the throne of Courland. ‘Adrienne's reward for her sacrifice was gross ingratitude. Her vainglorious lover betrayed her with the promiscuous Duchesse (Princess, in the opera) de Bouillon, leading to a triangle of jealousy, intrigue and violence. The opera records the last tumultuous weeks in ‘Adrienne's life in the year 1730. Iti full of well-observed historical and theatrical detail, populated by such members of the Comédie Francaise as Messrs. Poisson and Quinault, and Mles. Jouvenot and Dangeville, all fellow artists of Lecouvreur. There are shades of Voltaire in the operatic character of Michonnet, the devoted stage manager, full of ‘admiration for Adrienne's art and smitten with her person. Not slavishly bound by history, the libretto by Arturo Colautti nevertheless mixes in historical ingredients with scholarly ‘ease. When, in the opera's third act, Adriana confronts the Princess by quoting a passionate ‘monologue from Racine's Phédre, which suggests the great tension between the rivals, that scene is based on historical fact: On November 10, 1729, she actually delivered that monologue on the stage of the Comédie Francaise, with the Duchess-and all the Paris ‘cognoscenti-in the audience. ‘Though the opera presents Maurice (Maurizio) de Saxe in a fairly sympathetic light, it is not blind to his vanity. When, in the third act he describes a military confrontation with "V1 russo Menchikoff' st Mittau (Courland's capital), he is not above comparing his own heroism with ‘that of Sweden's much-feared and admired Charles Il. Lecouvreur's theatrical death by poisoned flowers grew out of various rumors surrounding the Lecouvreur-Bouillon rivalry. The real Adrienne had symptoms of dysentery several years before her illness turned fatal in 1730. On March 15, 1730 she appeared for the last time as Jocaste in Voltare's Oedipe. She died five days later, with her doctor, Maurice de ‘Saxe, and Voltaire at her bedside. ‘The Archbishop of Paris refused religious burial and her body was promptly interred in an unmarked spot on the bank of the Seine. She was mourned by her colleagues, and many influential friends and admirers protested her final indignity. In along poetic eulogy Voltaire wrote: ‘They deprived of burial her who in Greece would have altars. I have seen them adoring her, erowding about her; hardly is she dead when she becomes a criminal! ‘She charmed the world, and you punish her! No, those banks will never henceforth be profane; they hold your ashes, and this sad tomb will be for us a new temple, hhonored by our chants, and consecrated by your shades, 2139 Maurice de Saxe continued his exploits in the battlefield and in the boudoir for many ‘more years, ending his life as Maréchal de France in 1750, a life in which Adrienne was a mere episode. THE PLOT ACTI The green room at the Comédie Frangaise, early in the year 1730. Four of the players are busily preparing for the evening's double bill of Racine's tragedy Bajazet and Regnard's comedy Les Follies Amoureuses, quarrelling among themselves and shouting orders to the ‘much put-upon stage manager, Michonnet. The Prince of Bouillon enters. He is the elderly protector of Mlle. Duclos (chief rival of Adriana Lecouvreur), and is followed by his servile confidant, the Abbé de Chazeuil. They comment on the packed house waiting to see the two leading ladies, Duclos and Lecouvreur, on the same evening. Adriana enters, rehearsing one of her speeches in the play. She rejects the exaggerated compliments offered her by declaring that she is merely a servant of the arts, "the accent of the verse". She then pays an unexpected compliment to Michonnet, saying he is her only true friend and her only sincere adviser. The Prince inquires after his mistress, Mlle. Duclos, to which Michonnet replies that she is writing a note in her dressing room. The jealous Prince sends the Abbé to find out the contents of that note, using bribery if necessary. For a moment Adriana and Michonnet are left alone, Too shy to reveal his love for her, Michonnet tells he has been left an inheritance and is thinking of marriage. When she appears to approve of the idea, he decides to propose to her, but she suddenly confides that she also i in love — with the young soldier Maurizio, who she believes (erroneously) to be in the service of the Comte de Saxe? Michonnet's embarrassment is cut short by the entrance of Maurizio. Adriana questions him about his chances for promotion, but his answer is evasive. They are unable to talk further because it is time for her to go on stage. She agrees to meet him after the performance and gives him a nosegay of violets as a keepsake. The Prince and the Abbé now retum, with Mile. Duclos’ letter, obtained by bribing her chambermaid. It tums out to be an invitation from the actress to another gentleman, inviting him to meet her later that evening at the very villa where she is accustomed to meet the Prince. The latter surmises that it must be Maurizio, whom he knows to be the Count de ‘Saxe himself, assuming the meeting to be a romantic tryst. He decides to take his revenge by inviting the entire cast to a supper party at his villa after the performance, so that Maurizio and Mlle. Duclos can be caught together unawares. The Prince and the Abbé arrange to have the letter delivered to Maurizio, who is now seated in the third box on the right inside the theater. Michonnet retums, and he places himself in such a way as to be able to watch from the wings his beloved Adriana’s performance, but suddenly remembers a "prop" letter that has to be given to her for her role as Roxane. Maurizio comes in with Duclos’ note in hand, cursing the fact that the meeting to further his political ambitions will prevent him from meeting Adriana after all. (The meeting was arranged by Duclos not for romantic reasons but for Maurizio to meet with the Princess, who had promised to speak to the Queen on his behalf.) Maurizio sees the blank "prop" letter on the prop table and has the bright idea of writing a note on it to inform Adriana that he won't be able to meet her tonight. The “prop” letter, now with Maurizio's message scribbled on it, is picked up by one of the actresses and delivered to Adriana on stage. Adriana's reaction at reading the note on stage is interpreted by Michonnet and the audience as another sign of her riveting acting commitment. When she comes off stage, visibly upset, she is invited by the Prince, together with the rest of the company, for a midnight supper party at his villa, Maurizio, for his own political reasons, has told Adriana that he is a mere soldier in Count de Saxe's service. It will become clear to Adriana later on, that Maurizio is the Count de Saxe.190 ACT IL ‘A room in a villa by the Seine river. The Princess of Bouillon is waiting impatiently for ‘Maurizio, the man she secretly loves. When he arrives he explains his tardiness stating that he was followed as he left the theater. Suspicious, she points to the nosegay of violets pinned to his lapel, so he cleverly gives it to her, lying that he brought them expressly for her. The Princess then informs him that she has begun to win over the Queen to his cause, ‘warning him at the same time that he has powerful enemies in Paris. He states that he will leave Paris, but this causes her to rebuke him for not loving her. He refuses to mention Adriana and offers his friendship. She replies that friendship is mere ashes compared to the ‘burning coals of passion. He is saved from the Princess’ jealous fury by the Prince's arrival. ‘The Princess hides in an inner room. When the Prince and the Abbé enter, they taunt Maurizio about being caught with his mistress, whom they believe to be La Duclos, and are surprised when he reacts quite violently. The Prince laughs off the situation saying that he was getting tired of La Duclos anyway, and welcomes Maurizio to take her over with his blessings. Adriana now arrives, to discover that Maurizio is indeed the Count de Saxe. Left to themselves for a moment, Adriana and Maurizio express their love for one another. They are interrupted by Michonnet, who is frantically searching for La Duclos to speak to her about a new part that has just been offered to her. In embarrassment he returns saying that the woman inside is not La Duclos at all, but another woman whom he was unable to recognize in the darkness. Maurizio makes Adriana promise to prevent the Abbé discovering the identity of the mysterious woman in hiding, assuring her that itis someone he has met for political reasons only. Adriana believes him, and when the others leave, she snuffs out the candles in the room one by one and prepares to arrange for the unknown woman's escape. First, however, she and the Princess, though each unaware of each other's identity in the dark, quarrel bitterly as rivals for Maurizio's love. Servants with torches begin to arrive and Adriana decides to throw caution to the wind and ask the torch bearers to illuminate the room. When sshe returns, the woman has made her escape through a secret door. "Coward!" she utters in frustration. However, in her haste the Princess has dropped her diamond bracelet on the floor, which is later to be picked up by Michonnet and given to Adriana. ACT II A ballroom in Prince de Bouillon's house. Preparations are in progress for the reception ‘under the supervision of the Abbé, who goes about chiding the servants and lackeys. The Princess is still anxious to find out who her rival is and is also distressed because Maurizio has been put in jail for debt. Even the Abbé’s fawning compliments can’t take her mind off it. Her husband the Prince, passes by, holding a small tub of a whitish chemical powder in his hand. He has been asked to perform a chemical analysis of it by the government. The Princess takes momentary interest in this deadly powder, and questions her husband about its nefarious properties. The arriving guests include Adriana, whose voice the Princess recognizes as her rival's. She confirms her suspicion by announcing that Maurizio has been ‘wounded in a duel, at which news Adriana faints — to recover a moment later when Maurizio makes his appearance. He goes at once to the Princess to thank her for having, as he wrongly believes, secured his release from prison. He is prevented from saying any more to her by the Prince, who asks him to retell the story of his military assault on Mittau, which Maurizio boastfully recalls to the delectation of the guests. A ballet, "The Judgement of Paris’, follows; after which Adriana and the Princess engage in an acrid battle of wits over the identity of Maurizio's mistress. The Princess cattily refers to a nosegay of violets, and Adriana to a bracelet lost in flight - which she produces to the Princess’ obvious discomfort and embarrassment, all the more infuriating as the Prince has a191 look and states for all assembled to hear that itis, indeed, his wife's bracelet. Adriana further insults her rival when, asked to perform for the guests, she launches into a monologue from Phédre, in which Phédre reproaches herself for her infidelity and expresses terror at the imminent reunion with her husband. As the guests applaud her spirited performance, the Princess swears vengeance, ACTIV AA sitting room in Adriana's house on March 30, 1730. Disappointed and unhappy, Adriana has decided to give up the stage. Michonnet comes in to visit her and, learning from the ‘maid that she is still asleep, sits down to pen a note which he then hands over to the maid to deliver to Maurizio as soon as possible. When Adriana comes in he tries to comfort her, unsuccessfully. Her colleagues from the Comédie arrive with gifts — itis her name day — and beg her to return to the theater. Then Michonnet presents his gift, the necklace she had pawned to secure Maurizio's release from jail. As Adriana's spirits begin to rise, the maid brings in yet another gift, a small velvet casket with a note bearing the simple message “From Maurizio." Michonnet, wishing to leave Adriana alone, ushers the actors into another room for a drink, certain that Maurizio will be there any moment. As Adriana opens the casket, only to find the faded bunch of violets she had given her lover at the theater that night, an icy breath rises from the flowers to her face. At first she recoils from the odor, and expresses her distress at the fact that Maurizio should now add insult to injury. Michonnet comforts her, trying to assure her this is not from Maurizio but rather a female rival. Maurizio rushes in to beg Adriana's forgiveness, explaining that spiteful gossip has been the cause of their estrangement. Adriana is suspicious at first, but when Maurizio finally ‘proposes marriage she relents. Her rapture is cut short by spasms of pain, which she blames ‘on the scent of the flowers he has sent her. Maurizio protests that he did not send them. He examines the casket and realizes that it was sent by the Princess, after having sprinkled the violets with her husband's poisonous powder. Adriana becomes delirious, to the horror of Maurizio and Michonnet. Realizing she is dying, she beseeches them to save her so that she may find happiness with Maurizio at last. It is too late. Delirious once again she becomes as ifon stage again and declaims that her spirit is flying towards a mysterious distant light. She falls lifeless into the arms of her lover and her one faithful friend.Adriana Lecouvreur, Act I 193 ACTI (he green room at the Comédie Francaise. There is a large door leading to the wings, affording a partial view of the stage. A smaller door leads to the front of the house. Another door leads to the artisis' dressing rooms, and a slightly larger one leading to the stage door. The green room has a large bust of Moliére in a prominent location, several small tables, on ‘one of which a chess board is set up. There are chairs, benches, a screen and several mirrors. Mile. Jouvenot, who is to play Zatima in Racine's Bajazet, is attired in a Turkish ‘castume and is putting the finishing touches on her makeup. Mile. Dangeville, dressed for her soubrette role in Les Follies Amoureuses, a comedy by Jean Francois Regnard, is running through her lines. The actor Quinault, dressed for the part of the Vizier in Bajazet, is preening before a large mirror. His partner Poisson, playing the rustic comic Crispin in Les Folies Amoureuses, admires his makeup in a small hand held mirror. Michonnelt, the stage manager and general theater factotum, loaded with theatrical accessories is running ‘back and forth attending to the demands of the actors. In the background there is a continuing coming and going of actors, dressers, extras and others on their way to or from the wings.) JOUVENOT mifonne ‘della ‘bjakka Michonnet, della _biacca! Michonnet, some white powder! MICHONNET (nodding towards one of the tables) la ‘sopra sinno'rina Lasopra, —_signorina... POISSON (shouting) mifonne del ro'ssetto Michonnet, del _rossetto! Michonnet, some rouge! MICHONNET la ‘dentro nel tiretto La dentro nel tiretto... There, inside the drawer... DANGEVILLE’ mifonne la mia ‘ventola Michonnet, Ia mia ventola! Michonnet, my fan! QUINAULT mifonne il mio ‘manto Michonnet, ilmio manto! Michonnet, my cloak! * Jouvenot, Dangeville, Quinault and Poisson were actors and colleagues of Adrienne Lecouvreur at the Comédie Frangaise atthe time.194 Adriana Lecowvrewr, Act I MICHONNET ‘ekko kwa — mjei sipnori Eeco qua, _ miei signori! Hereitis. ladies and gentlemen! JOUVENOT, DANGEVILLE spittfatevi Spicciatevit Hurry up! MICHONNET (as he rushes from one to the other) 2 soltanto ‘due ~ ‘mani Ho soltanto have only QUINAULT (railing at him) e — ‘kwattro ‘gambe E quattro gambe! And four legs! DANGEVILLE le mie pastikike Le mie pasticche! My —pastilles! JOUVENOT un ‘neo Un neo! A beauty spot! POISSON la *fintola ‘presto La cintola! Presto! My belt! Quickly! QUINAULT Ta mia ‘spada ‘presto ia spada! Presto! sword! Quickly! DANGEVILLE, QUINAULT, JOUVENOT, POISSON Presto! ‘presto ‘dunkwe morfeo Presto dunque, —-Morfeo! Quickly then, Morpheus! MICHONNET (grumbling under his breath) mifonne su mifonne = dg Michonnet su! —-Michonnet gilt! Michonnet_ up! Michonnet down! (Michonnet here, Michonnet there!) ? Morpheus is the mythological god of sleep. ~) a ncncemnnteeennttnteAdriana Lecouvreur, Act I auf non ne ‘posiso piu Auff! Non ne posso pitt! ‘Oh! — I cannot stand it anymore! ame ‘tutti fastidi a A me tutti glimcarichi, tutti fastidi a To me all_—the demands, all'the problems —to un dietttor di ffena sta pedidso dun Un — direttor di scena sta _peggio d'un A director of stage is worse off thana (Stage manager) im medidzo a tanti re di_—_kartapesta inmezzoa — tanti re di_—_cartapesta amidst so many kings of cardboard tYe da perder la ee da perder la itsenough to lose one's 195 me me... me... lakcke lacehe... lackey... (to be amidst all these cardboard kings is enough to drive you to distraction...) segwir le ‘kjakikere ——‘moltfer Ie Seguir Te chiacchere, —_ moleer le To keep up with the gossip, tosoothe the plakar le ‘kokilere ‘romper Je ‘kabale placar le collere, romper le cabale, toplacate the angry outbursts,to break the cabals, zvenitar le insidje ‘delle petitegole sventar le insidie delle _pettegole, tothwart the conspiracies of the gossipers, matitins © ‘vespro ‘vespro © mattin mattino © vespro, vespro e matin, ‘morning and night, night and day, ‘sentsa mai fin senza ‘mai fin! without ever ending! a se nom fosise © il tposta sospirato Ah! se monfosse = il’_—posto sospirato Ah! If itweren'tfor the post longed for di ‘soto proprietarjo di socio _proprietario, ofa partner proprietary, (Ant! If it weren't for that coveted post,”) inyvidje invidie, jealousies, > The “coveted post" Michonnet is talking about is that of sociétaire of the Comédie Frangaise, which, ‘with the pension that it carried, would afford him enough money to live comfortably and still be near his beloved Adriana.196 Adriana Lecouvreur, Act I per zbar‘kare il lunagjo per sbarcare il lunario to make it through the month (to make ends meet) e ‘stare ‘sempre ‘lato e . starle sempre allato... and be always at her side... POISSON ke mai borbotiti Che mai —_borbotti? What are you muttering? DANGEVILLE (annoyed, sucking on a pastile) ke ‘nnoja laspetttare Che — noia, Vaspettare! What a bore, waiting! (Quinazult strikes an attitude before the mirror with drawn scimitar and nearly running Michonnet through in the process.) QUINAULT ‘tema koldardo "Trea, _codardo!” “Tremble, you coward!" JOUVENOT un ‘neo aykor mi ‘manka Un neo ancor mi manca. A beauty spot still _is lacking. (Inced another beauty spot.) DANGEVILLE (cattily) solamente Solamente? Is that all? QUINAULT (to Michonnet, as the latter jumps out of harm's way) ‘skuza Sorry.Adriana Lecouvreur, Act I 197 MICHONNET “fate pur Fate pur. Dontt mind me... JOUVENOT sfattfata Sfacciata! Impudent hussy! DANGEVILLE (not to be outdone) superba ‘Superba! Conceited one! JOUVENOT ‘sono ‘stanka Sono stanca! Tam fed up! POISSON (still admiring himself in the mirror, to Michonnet) ke tipar Che tipar? What do you think? MICHONNET mapifiko un —_nartfizo Magnifico! un : Magnificent! A DANGEVILLE (in reply to Jowvenot) ed io nauze'ata Ed io _nauseata! And T amnauseated! JOUVENOT (more and more heatedly) Sfacciatal (courtseying exaggeratedly) markeza -—smorganatika Marchesa morganatica! Marchioness _ morganatic!* (You morganatic Marchioness!) DANGEVILLE (also courtseying in an exaggerated manner) printfipessa di ‘piktke Principessa di _pieche! Princess of spades! POISSON (to the two bickering actresses) 5 Morganatic isthe name applied to a marriage between a sovereign and a woman of an inferior social class, thus rendering her unfit to inherit the throne.198 Adriana Lecouvreur, Act I POISSON (to the two bickering actresses) batdate ‘alla gra'mmatika Badate alla grammatica! Mind your pisandq's! MICHONNET (rushing to separate the actresses, who are about to come to blows) sinnore siva in ffena Signore, _siva in scena! Ladies, ittstimetogo on stage! QUINAULT (pointing to the bust of Moliére) moljer vaskolta la Moligre viascolta lat Moliére islisteningto you over there! (The Prince of Bouillon, an aging dandy, enters from the front of the house, accompanied by his fawning side-kick, the Abbé de Chazeuil,) MICHONNET il'printfipe dibujo © labate di farzexj Principe di Bouillon ¢ ~—_—‘'Abate di Chazeuil... The Prince of Bouillon andthe AbbE = oof, Chazeuil... ke fortuna che fortuna! how nice! QUINAULT (whispering to Poisson) kolui Colui? Who's that? POISSON (whispering back) il metfenate ‘della dyklo Tl mecenate —della_Dulo: The — sugar-daddy of La Duclos. di ‘kimika dilettante © damore di chimica dilettante d'amore. in chemistry adabbler and _in love. (a dabbler in chemistry and in love...) QUINAULT € _ labatino E — Fabatino? And the little Abbé?” © The Queen of spades is generally believed to be a suit of ll-omen, Consider Carmen and Pique Dame. In Italian, the appellation is used as an abusive term. 7 Anne-Marie de Chateauneuf (1668-1748), known as La Duclos, and Adriana’s chief rival. "The Prince's dabbling in chemistry, especially in harmful powders, is very important atthe climax of this story. 5A this time in history there were “wordy” cleric lite the Abbé, precious characters, who hovered around the elegant ladies, leading relationships that werent exactly as celibate or chaste as one would expect from other "non-wordly" clerics. The Abbé in Andrea Chénier is also one.aa EE Adriana Lecowvreur, Act I 199 POISSON il ‘hinmslo “della ‘mokce Tninnoto della moglie! ‘The plaything ofhis wife! (He's the plaything of the Prince's wife, the Princess of Bouillon!) ABATE (wrinkling his nose) ke odore Che odore! What an, aroma! MICHONNET odor di palko'ffeniko Odor di palcoscenico... ‘Smell ofthe stage... PRINCE (fatuously, as he ogles the two actresses) ‘delle ‘grattsje e il respir Delle grazie & il respirt Ofthe Graces itis the breath! (itis the aroma of the Graces!) POISSON (bowing low to the Prince) ‘printfipe Principe! Prince! PRINCE (patronizingly) "karo ‘karo Caro, caro... My very dearest... QUINAULT (saluting the Abbé in Turkish fashion) abate Abate! Abbé! ABATE (acknowledging him) PRINCE (gallantly, to Jouvenot) madamidselila ‘kome vi kjame'em stasera Madamigetia, come vichiamerem stasera? Mademoiselle, how shall we call you this evening? JOUVENOT dzatima Zatima.200 Adriana Lecouvreur, Act I ABATE (to Dangeville) © woi E voi? And you? DANGEVILLE Hizetta Lisetta. PRINCE (to Jouvenot) ‘sjete ‘una vera sultana Siete una vera sultana You are a tue Sultana ABATE (to Dangeville) e voi Ja primavera E voi la Primavera! And you (are) Spring! del se'rrakfo del Serragtio! ofthe harem! JOUVENOT (pointing coquettishly to her shoulder) ‘printfipe —"kwesto ‘neo Principe, questo neo... Prince, this beauty spot... PRINCE damor ‘parmi um D'Amor = parmi un For Cupid _itseemstome a ber'sakKo bersuglio! ! (it seems to me that itis a target for Cupid's [arrow].) ABATE (sighing affectedly) ‘ards nel gwardarvi Ardo nel guardarvil... Tbum atthe sight of you!... DANGEVILLE (laughing loudly) abate ‘ekko il mio ventakio Abate, ecco il mio ventaglio! Abbé,” here is my fant (Here is my fan [to cool you down}!...) ABATE (preciowsly) dellautdsel di ‘eda e'bumes Deall'angel di Leda Of the bird of Leda (Like an ivory-colored feather of the [swan] of Leda...) PRINCE (in like manner) fior da‘mor ‘arma Fior d'Amor, = arma Flower of Cupid, weapon * Leda, wife of Tyrandeus, deceived by Zeus di venece ‘doltfe ‘neo di Venere... dolee neo... of Venus... sweet beauty spot... in the form of a swan.Adriana Lecouvreur, Act I 201 ABATE ‘vaga ‘pjuma piuma feather... ({Ob, Mlle. Dangeville, your fan] is the ivory-colored feather of Leda's swan...) PRINCE ke ‘splendial ‘seno the splendi al seno.. ‘that shines on (your) bosom. ABATE ondole'didgante nel seveno nel sereno inthe firmament dadamante d'adamant of diamond. “bjagko mar bianco mar... white sea... per per... along... se ardor se Vardor if my ardor... "Artemis, or Diana, goddess of the Moon in Greek mythology.202 Adriana Lecouvreur, Act I ABATE ne ammortsi um — ‘poko -neammorzi un poco... .youdampen a bit. PRINCE deL:loblio dell'oblio.. ABATE fai repente divampar evel repente divampar. youset suddenly ablaze. PRINCE fai Ki "zqwardi navitgar fai gli sguardi navigar. -.youcause my gaze to take its course,’ ABATE (to Michonnet, as he hurries past them) e la dyklo E Ia Duclos? And 1a Duclos? (Where is la Duclos?) It may be difficult to follow this flowery prose concurrently uttered by the Prince and the Abbé. Here it is without interruptions: ‘Abate: A pretty feather from Leda's ivory swan swaying up and down upon a diamond breast, the altar of Artemis. If you dampen my ardor, you suddenly set another thousand hidden desires, aflame, Prince: The flower of Cupid, weapon of Venus, a sweet beauty spot on your breast, like a star in the ‘donna immemore oO donna Oh woman forgetful! ‘punto Punto. Period.Adriana Lecouvreur, Act I 223 PRINCE (more and more piqued) 9 kwore injgrato 0 cuore ingrato! Oh heart ‘ungrateful! ABATE (enjoying the pun) kostantsa—ironika Costanza nica! Constancy ironic! (An ironic constanc} PRINCE fede Fede Fidelity (Footlight fidelity!) (after a pause) ed il rekapito Ed il_—_recapito? And the addressee? ABATE ‘tertso palketto a destra Terzo palchetto a destra. Third box onthe right. (truck by a sudden thought) ‘djavolo ‘kwale sospetto Diavolo! _Quale sospetto! The devil! What suspicion! (The devill.. Something just struck my mind!) PRINCE konoffi il ‘komplitfe Conosei il complice? Doyouknow her accomplice? ABATE “forse maurittsjo Forse... Maurizio. Perhaps... Maurizio. PRINCE il ‘konte Conte? The Count? ® Histrionic, from the Greek isirias, "actor", sometimes istrione in Italian,224 Adriana Lecouvreur, Act I ABATE entrare Io visto la Entrare Vho visto Li, Goin Isawhim there. (I saw him go in there.) PRINCE e ‘dunkwe ‘ui E, — dunque, lui? Isit then he? (Thea, it's him!) ABATE ‘dubsbjo nom va Dubbio non v'ba. Doubt there isn't about it. (There's no doubt about it) (Perplexed, they look at each other.) PRINCE, then ABATE ke far Che far? What to do? PRINCE (racking his brains) laiddsu Inthe little villa? (The two actresses, intrigued, step closer the better to eavesdrop.) PRINCE (struck by an idea) un 'gajo._festino Un —gaio i A gay ABATE offferto ‘aki atttor offerto agli attor? offered to the actors? PRINCE ti pjatfe il dizeppo Ti piace il disegno? Doyoulike the —_ idea?Adriana Lecouvreur, Act I 225 ABATE mirabile ardito Mirabile! — Ardito! Marvellous! Bold! PRINCE (warming up to his idea) di ‘gwerra partito Di guerra partito! Of — war (an) _ expedient! (This is an expedient of war!) ABATE tranel:o damor Tranello d'amor! Asnare of love! PRINCE kofamo ‘due tortor Cogliamo due _tortori... We shall catch two turtle doves... ‘doltfe duvetto dolee duetto. sweet duet. dovran dovran. they will have to. edi venere edi Venere... and of Venus... ABATE Jersor si sipete «error siripete. athe error repeats itself. (The error continues to repeat itself: Mars (war) and Venus (love) simply don't go together.) PRINCE ma tende la ‘rete Ma tende rete. But spreadshis net.226 Adriana Lecouvreur, Act I no sooner awake... PRINCE de'ltilace --dell'ilare of the happy --the aim 2 (And all of Paris, barely awake, shall know the reason for that gay party.) PRINCE dja ‘ridono inykauti Gia ridono incauti... Already are laughing reckless... ABATE amore ed_—imene --Amore ed_—“‘Imene! Cupid and Hymen! PRINCE (with a menacing gesture) ma ride’ra "bene Ma rider bene... But he will laugh best. ABATE ceki poi ridetra schi poi riderat who last laughs! JOUVENOT, then DANGEVILLE (who have been eavesdropping) ‘kwantoe —burlevole ~—kwantse —_——pjatfevole Quanto8 ——burlevole!_ = Quantoé—_piacevole! How amusing! How pleasant! edAdriana Lecouvreur, Act I 27 lardziklo —‘printfipe.——matturo ‘satiro Larzillo Principe, maturo satiro, Thatlively Prince, (that) mature satyr, e a ‘tutte ore @ a tutte ore isthe at all hows ‘delta ‘detta rondo della detta Rondo, of nicknamed — Rondé.”" QUINAULT, POISSON, alternating perke ridete ke ‘grill avete Perch? ridete? Che grilli_avete? Why do you laugh? What notions have you? ki non lo sa tfaskun Isa Chinon lo sa? Ciascun ——osa! Who doesn't know it? Everyone knows it! JOUVENOT, DANGEVILLE, alternating ma la frasketta = © =p protetta, Ma la fraschetta 2 = pur __protetta, But the flirtatious one is also. protected, per ‘bwona ‘sorta ‘dalla _kon'sorte per buona sorte dalla consorte, byher good luck by the consort, (and by her good fortune she is protected by the Prince's wife,” ‘una spappola ke ~—_si Kor/sola una spagnola che — siconsola. a Spanish lady who can take comfort. ‘dunkwe un tertsetto = ‘antsi_ uy kwarttetsto Dunque un terzetto, —amzi_ un quartetto, So the threesome isnow a —_—foursome, poi tfe —unaltro ed © ju skaltro poi ce un‘altro ed 2 pit sealtro. for there's another(man) and heis even cleverer. QUINAULT, POISSON, alternating ‘nobile ‘kor " ‘sentsa rankor Nobile cor! Senza rancor. Noble heart! Without rancor. Because of her rotund figure and the special way of intoning her lines, La Duclos received that sobriquet atthe time. This line explains why La Duclos is writing this letter to Maurizio. The Princess, not wishing to be compromised, has asked her to write it, knowing that she could be trusted. Naturally, the jealous Prince thinks La Duclos is asking Maurizio to meet her. As for the liaison of Duclos and the Prince, the Princess probably knows about it, but jgnores i, as she herself is having an illicit liaison with Maurizio.28 Adriana Lecouvreur, Act I per la dyklo ‘detta rondo Per Ia Delos, deta Rondd? For La Duclos, nicknamed — Rondd? sitke lei ‘stesssa la printfipes:sa Sicché lei stessa, la __Principessa? Soit’s she herself? The Princess? PRINCE (hailing an usher and handing him the letter and a gold coin) ewesto al ‘numero tre a destra kom mister Questo al numero tre a destra con mister... This tothe number three (box) onthe right with — mystery. (secretively...) (turning to the Abate) non soltanto dei ‘oumi Non soltanto dei Numi Not only ofthe gods ABATE, PRINCE lavenidetta e — pjatfer Invendetta @ —_piacer! vengeance is _—_apleasure! (It's not only the gods to whom vengeance is sweet!) PRINCE Un gaio festino offerto agli attor, etc. QUINAULT, POISSON, alternating ke bel bistittfo’ ke ~~ gram _pastittfo Che bel bisticcio! © Che gran _pasticcio! ‘What a lovelyto-do! What great mess! inttigo amen di lafonten Intrigo amen di Lafontaine. (An) intrigue worthy of Lafontaine. nel ‘vekckjo adon ‘spunta akte'on Nel vecchio Adon spunta Acteon! Onthe old Adonis appears Acteon! (The old Adonis [Prince] has tuned into Acteon!)” JOUVENOT, DANGEVILLE, alternating sikuramente naturalmente il ‘vekikjo ardente Sicuramente, naturalmente, il _veechio ardente ... Forsafety's sake, naturally, the old man ardent... ® In Greek mythology, Acteon was changed into a homed stag. The homs are symbols of cuckoldry, and the two actors are making fun of the elderty Prince because his wife, the Princess, is obviously having her own amours. ci tenet enn annnnennnAdriana Lecouvreur, Act 1 29 ‘molto prudente um -— ‘verde. ‘nido molto prudente... un verde _nido... very cautious... a green _love-nest... ‘denno di ‘gwido fwor ‘delle ‘mura degno di Guido. fuor delle mara. worthy of Guido. outside the walls. ‘tutto natura ‘skjuze ‘alla ‘bela tutto natura schiuse alla bella. allof nature isunlocked tohis sweetheart. ma la_—monnelila di ‘greka Ma la — monella di greea But the —_mischievious girl of Greek faith... (But the mischievious girl, [treacherous as] the Greeks of old...) la kjave ‘Yede ‘spesiso‘alla ‘mofKe Ia chiave cede spesso alla moglie. the key hands over often tothe wife. ke poi valkikoffe ‘sents rosisor ‘altro amator che poi v'aceoglie senza rossor... ‘altro amator. who then there receives without (any) shame... her other —_lover. ma ‘jana letteradi = “kwelilaetttfetera Ma gik una _lettera di quella eccetera... But now a letter from that so-and-so... ‘tferto un —_inmjvito nel ‘doltfe ‘sito certo un invito nel dolce sito... surely an invitation tothe sweet spot... al dgene'rozo—printfipe_ombrozo al generoso “Principe = ombroso... tothe generous Prince suspicious... veride sta'sera la —kamerrjeca vende stasera Ia cameriera... sold thisevening (by) the dresser. (The dresser [of La Duclos] was bribed this evening to get the letter and hand it over to the ‘generous, but suspicious Prince. (The Prince and Abbé, having concluded the details of their revenge, depart.) JOUVENOT, DANGEVILLE, alternating e il Vekkjo teelilo E il vecehio bello... ‘Vulcan novello... And the oldman handsome... Vulcan of latter-day... ‘sulla \fivetta dsutro wenidetta sulla civetta giurd vendetta. upon the minx swore vengeance.230 Adriana Lecowvreur, Act I or sidomanda ki va ki Or — sidomanda... chi va? chi Now he's asking himself... who is going? who lap:puntamento in tal momento L'appuntamento.... in tal momento... (1s) the appointment at —such_—_ a moment... val per la ‘spoza 0 -—lamo'roza val per Ia sposa 0 —'amorosa? meant for his wife or _ his mistress? POISSON ‘aspro problema —_ardito Aspro Problema —_ardito! Burning Problem ticklish! QUINAULT e la kom:medja_voldge in tratgedja E Ia _—_commedia ~—volge in _tragedia! And the comedy tums into tragedy! MICHONNET (returning hurriedly) sipnori ‘tokkka a Voi ignori, tocca a voi! Ladies and gentlemen, you're on! JOUVENOT ‘tosto) Tosto. Ina moment. DANGEVILLE, POISSON per me {fe ‘tempo Per me c'é tempo. For me there's time. MICHONNET (to Jowenot) perdete la batttuta Perdete Ia battuta! You'll miss your cue! JOUVENOT ke importa Che importa? What does it matter? QUINAULT (as he goes, to Jouvenot) al ‘Vostro ‘pasta Al vostro posto! To your place! (Places!) ‘manda manda? is being sent? eAdriana Lecouvreur, Act I 231 (While Jouvenot and Quinault take their places in the wings, Dangeville and Poisson withdraw through the doors leading to the dressing rooms.) MICHONNET (from the wings, watching Adriana perform) ‘ekko il mo'nologo__silentsjo sepolkral ‘grave. momento Ecco il monologo... _silenzio sepoleral... grave momento! Here's the — monologue... silence deathly. the great moment! struddser di ‘dsoja. ¢ ©=—di_—stimor_mi'sento Strugger di_—gioia. e€ = di_—timor_misento... Tom by joy and by fear feel. "bene be'nisisimo —ko'zi ke faffino ke attfento Bene! benissimo! _cosi... che — fascino! che —accento! Good! Very good! That's it... what charm! What a tone of voice! ‘owanta kome profonda =e = umana Quanta Com’ profonda ¢ —umana! What How she is profound and_—human! men sintfera © la stess verita Men sincera & la stessa veritit! Less sincere is the very ‘ruth! (Truth itself is less sincere!) (annoyed at what he considers lack of appreciation by the audience) ke —fan:no ‘dunkwe la Che fanno dunque 1a? Applaudite, What are they doing there? Applaud, (The public bursts into applause; Michonnet also claps.) a stupenda —mirabile sublime Ah! stupenda! —mirabile!_ sublime! ‘Ab! Stupendous! Marvellous! Sublime! (with a stab of jealousy) ala visto © “Kjelo esprime kon fi zgwardi Ah! — Ihha visto! € — glielo esprime con gli sguardi, Ah! She has seen him!... and she tells him so with her glances, i ‘dgesti i ‘moti i gesti, i moti... her gestures, her movements. e dir ke ~—kozitbene —retfita per unaltra E dir che cosibene —_—recita per un'altro And tothinkthat so well she performs for another (man)232 Adriana Lecouvreur, Act I nom perme ma rimedjo non tfe e non permet Ma rimedio non e'é and not for — me! But, remedy there isn't! ‘But, it cannot be helped!) non tfe kostrutto in askoltarla_afago le mie ‘pene Non c'é costratto! In ascoltarla _affogo Iemie pene, There'sno use! Listening to her I drown my sorrows, e tido e — pjangoe ——‘sonno © dimentiko ‘tutto e rido, e —piango,e ——sogino... e dimentico tutto. and Tlaugh,and weep, and Idream... and‘ forget everything. (coming back to reality) dove ‘dugkwe il bixKetto = di_—=—dzattima Dov'e_dunque il —_iglietto di Zatima? But where is the letter for Zatima? lavevo nel farsetito Liavevo nel farsetto... Thad it inmy waistcoat... (looking in the drawer of one of the tables) bizonna ke I trovi ad ‘oppi‘kosto Bisogna che lo trovi ad ogni costo. Ineed to find it at all costs . 2 (While he rummages in every drawer for the "prop" letter for Zatima, Maurizio reburns, perusing the Duclos letter sent him to his box by the Prince.) MAURIZIO maledetta politika maledetto i= momento Maledetta politica! maledetto —il_~—s momento Cursed politics! be the moment ke atttfettai = kwei che —accettai quei that Taccepted those ‘perder lap:punta'mento kon mai Perder ‘appuntamento con Mait To miss my appointment with Never! pero ‘kwesto bixfetto ke sda_—dyklo_mimyvia Perd, questo biglietto che = La Duclos m'invia.. However, this letter that la Duclos sent me. MICHONNET (till searching) a forse in wel tiretto Ah! forse in quel _tiretto... ‘Ah! Perhapsin that ee | i : |Adriana Lecouvreur, Act I 233 MAURIZIO (still thinking out loud) e ‘sempre per kweltlaltra si ‘tratta ‘fertamente E sempre per quell'altra... Sitratta _certamente And always for thatother woman... Itmustbe for sure ‘della mia ‘nwova impreza della. mia nuova impresa.. about my new venture, -MICHONNET ‘ekckolo finalmente finalmente! at last! (He places the prop letter on the prop table.) MAURIZIO parlats al —_kardinal la printfipesisa ava Parlatoal Cardinal += la_—s~Principessa ava. Spoken tothe Cardinal the Princess must have, (The Princess [of Bouillon] must have spoken to the Cardinal (about me...) ke fare aspette'ro —luffita dadritana Che fare?... Aspetterd —_I'uscita d'Adriana, What shallIdo? Ishall wait fortheexit of Adriana. MICHONNET (seeing Quinault passing through) datete il fosKo per rossanma =a ddzattima Darete il foglio per Rossanna =a Zatima. Give the letter for Roxane to Zatima. QUINAULT (ill-humoredly, as usual, refusing to pick up the prop letter) ‘Ajelo datto Glielo dard. Twill give it to her! (While Michonnet is once again immersed in the stage action, Maurizio unthinkingly picks up the prop letter that Quinault had just refused to pick up off the table.) MAURIZIO (examining the blank prop letter) neppure ‘una parola Neppure una _parola! Noteven one _—_word! (This isa blank piece of paper!) (He is now struck by an idea.) io tfene meter unastuttsja di “‘gwersra To cene metterd.... um'astuzia di guerra! TI onit(words) shall write... Acstratagem of war! (Ill write something on [this blank note]...a military maneuver! ® Refer to the synopsis and the extract from George Jellinek’s book "History Through the Opera Glass".234 Adriana Lecouvreur, Act I (He proceeds to write on the prop letter.) MICHONNET a ‘ekko Ia dyklo ‘povera fikka ‘zgolati Ah! Ecco La Duclos. sgolati... Ah! There's la—-Duclos. talk yourself hoarse... ‘mesfo se 'stesssi Meglio se stessi Better if youkept quiet! (it would be better if you remained silent!) kantar ipjafe = ‘kanta sei Tritta Cantar tipiace? Canta. sei fritta! To sing you like? Sing. you are done for! JOUVENOT (getting ready to go on) mifonne la mia ‘karta per ro'ssanma Michonnet... Ia mia carta.. per Rosanna... Michonnet.... my letter... for Roxane... MICHONNET (indicating the prop table, without taking his eyes from the stage) © la gE he. Its over there... MAURIZIO (picking up the prop letter and handing it to Jouvenot) madamidsekla Madamigella. Mademoiselle. JOUVENOT (taking it from him) ‘grattsje Grazie! ‘Thank you! MICHONNET (to Jowenot) ‘presto Presto! Hurry up! MAURIZIO adriana avra ‘due mie parole Adriana avr due mie parole... ‘Adriana shall get couple my words, (Adriana will [atleast] receive a couple of words from me...) MICHONNET (as Zatima goes on stage) dza'tima ‘entra, in ifffena Zatima entra in iscena. Zatima is going onstage. % La Duclos read her lines ina sing-song manner (literally singing"), quite opposite from the way ‘Adriana delivered her lines.Adriana Lecouvreur, Act 1 235 MAURIZIO ‘dala man di Dalla man di Bythe hand of (Zatima shall hand her the [prop leter on which I have written a few words), and then shell know {that urgent matters prevent me from seeing her tonight as planned].) MICHONNET ma ke notna il wikkjetto Ma cha! Non ha il viglietto? But what's this! Hasn't she got the letter? MAURIZIO ke ‘prima di dsman nom ‘posiso che prima didoman non posso. ‘that before tomorrow I cannot (meet her). MICHONNET si Iopordse «=a eo'ssanna Si! lo porge a Rosanna. Yes! She'sgivingit to Roxane. MAURIZIO 2 ‘grama kurlanidia —‘kwanto mi ‘kosti O — grama Curlandia... quanto mi costit Oh unhappy Courland... howmuch you cost me! andjamo ke Taltra © in agonia Andiamo, che = Valtra @ im agonia! Let me be going, for thatother woman isin. — agony! MICHONNET fel malgrado —il’_—ro'ssetto Ciel! Malgrado —il_—rossetto Heaven(s)! Despite the rouge ‘freme vatfilda ‘arte freme... vacilla... arte she trembles... she almost faints... artistry (The audience breaks into thunderous applause.) JOUVENOT (coming from the stage, very jealous) ke furore Che furore! What furor!236 Adriana Lecowvreur, Act I QUINAULT (also jealous) un dellirjo Un —delirio! A delirium! DANGEVILLE (in disgust) ke ofrrore Che orrore! What horror! POISSON ke ‘pubbliko in. fremo Che pubblico! =~ To_—fremo! What anaudience! I am trembling! JOUVENOT, then DANGEVILLE, io ‘pjango io la'sfido To _piango! To —_Iasfidot 1 amweeping! I will defy her! QUINAULT id ‘sofifoko Jo _soffoco! I am suffocating! MICHONNET (amused by the violent reaction of the other actors) io ‘rido To ido! Tam laughing! (The Abbé and the Prince re-enter from the house, along with other members of the nobility.) ABATE, then PRINCE sovrana sovrumana Sovrana! _Sovrumana! Sovereign! Superhuman! mapnifika sublime Magnifica! Sublime! Magnificent! Sublime! JOUVENOT, DANGEVILLE "kome ‘anke voi Come! Anche voi? What! You too? ABATE, mi emantfipo ‘glorja dellarte = im —_ for Mi emancipo! Gloria dell'arte = infor! T'm freeing myself! Glory. to art in bloom!Adriana Lecowvreur, Act 1 PRINCE ‘mi 'vendiko ‘Mivendico! T'm avenging myself! Gloria del!'arte in fior! 237 (Adriana is visibly upset and can hardly walk. Everybody fawns about her, offering congratulations on her performance.) ALL. ad adriana conor Ad Adriana ——onor! To Adriana, honor! PRINCE (addressing himself to Adriana) io tutti_—_vinjvito a 'gajo Konyvito Jo —tutti__v'invito a gaio convito... 1 all invite toa gay supper party... fa'ranmovi simadidso Farannovi omaggio... They will pay you homage. (pointing to the actors) Ia ffena La scena. Stage. (pointing to his aristocratic companions) la ‘korte La Corte... Court... ABATE (interjecting) il ‘Klero Melero... Clergy... (Stage, Court and Clergy will pay you homage, Adriana.) PRINCE ed il forte. ere di —sa'ssonja——nojke di Ed il forte _eroe di Sassonia, ——nonché di And the brave hero of Saxony no less of ADRIANA (struck by a thought) konofferls‘bramo Conoscerlo bramo. Tomeet him I wish. (i'm dying to meet him.) polonja Polonia. Poland.238 Adriana Lecowvreur, Act I PRINCE (bowing and handing her a key) ed 'ekko la kjave del ‘nidoso'ave Ed ecco la _—chiave del_—nido_soav And here's the key tothat nest cozy. ABATE (unctuously) il ‘verde vil:lino al ‘vostro vitfino verde villino al vostro vieino, the green little villa to yours _close by. -the green little villa close to your own.) ADRIANA (following her own train of thought) parlarki otro Parlargli potra!”” To speak to him I shall be able! (Ill be able to have a word with him!) PRINCE, ABATE (to Adriana) verrrete Verrete? Will you come? ADRIANA (firmly, her mind made up) vera Verra! Iwill come! PRINCE a medsdzatnotte A mezzanotte! At midnight (then)! ALL A mezzanotte! END OF ACTI 2” A note for the as yet confused follower of this story. Adriana does not know that Maurizio is the ‘Count de Saxe. She believes him to be a mere ensign of the Count. She will soon find out the truth.Adriana Lecouvreur, Act II 239 ACTIL (A small salon in a villa at La Grande Bateliére on the banks of the Seine, where the Prince has installed his mistress, the actress Duclos.' At the back there are glass-paneled double doors commanding a view of the Seine river. It is night. The new moon illuminates the scene. There is a concealed door to one side. The elegant salon is lit by branched candelabra. The Princess of Bouillon is sitting impatiently at a table, listening in silence to the strange noises of the night.) ARIA PRINCESS (sadly) atferba volutita ‘doltfe tortura Acerba volutta, dolee tortura, Bitter lust, sweet torture, agonnia ‘rapida offeza agonia,rapida offesa, agony, the swift offense, ‘vampa ‘dselo tremor ‘zmanja paura vampa,gelo, tremor, smania, paura, fire, ice, shiver, frenzy, fear, ad amoroso = sen. ‘toma _latteza ad amoroso —sen_—torna attest toa loving heart means the waiting! (Toa loving heart, waiting is bitter pleasure, sweet torture, drawn out agony, swift insult, a ‘buming flame, an icy tremor, a frenzy of fear!) (A distant clock chimes eleven.) ‘omni. ‘eko oni, ‘ombra ‘nella ‘notte intfeza Ogni eco, ogni ombra nella notte incesa Every echo, every shadowin this night warm ‘kontro la impattsjente ‘alma contro Ia impaziente alma against my impatient soul (Conspires against my impatient spirit;) fra dubibjettsa ¢ dizio ‘tutta sospeza Fra dubbiezza e+ —disio tutta _sospesa, Between doubt and desire all hovering, Ietenita —nettlattimo —mitzura Veternith —nell'attimo —_misura... eternity by the moment is measured. (Torn between doubt and desire, every moment seems like an eternity...) ' To avoid confusion, this "love-nest” is used by the Prince for his amours, but his wife, the Princess of Bouillon, also uses it for her indiscretions as well.240 Adriana Lecouvreur, Act II (opening one of the glass-paneled doors and peering out into the darkness) versa moblia safifretta oppur si ‘pente Verra? M'oblia? Staffretta? __O pur si pente? Will he come? Has he forgotten me? Is he hurrying? Or else, is he regretting? Goyfully) ‘ekko ‘ekki “dgundse Ecco! egli giunge! There! He's coming! no del fjume © = il. Verso. No, del fiume @ = il_—verso, No, ofthe river itis the sound, ‘misto al sospir ‘dun ‘arbore dormente misto al sospir d'un arbore dormente. mixed with the sigh ofa tree _ sleeping. (No, it is only the sound of the river, mixed with the rustling of a sleeping tree.) ° vagabonda ‘stella dortente ° vagabonda stella d'Oriente Oh,(you) wandering star__—_of the East. non wamontar —_sorxidi allunivverso non tramontar: —_sorridi all" universo, don't set; smile upon the universe, e ‘sei nom/‘mente ‘skorta il mio amor € —stegli_ non mente, scorta il mio amor! and ifhe isnttlying, escort _my _beloved! (and if he isn't deceiving me, escort my beloved to me!) (She turns away from the window. Maurizio enters.) MAURIZIO printfipes:sa Principessa! Princess! PRINCESS (irritated) finatmente Finalmente... Atlast... MAURIZIO (kneeling) perdoinate Perdonate! Forgive me! JAdriana Lecouvreur, Act II 241 PRINCESS (threateningly) skono'ffente ‘Sconoscente! ‘Ungrateful one! MAURIZIO fui se'gwito ui seguito. Iwas _ followed. PRINCESS (in disbelief) da ki mai Da chi mai? Whoever by? MAURIZIO da ‘due innoti Ii afifrontai ma non tenner Da ma _non tennero. but they didn't stay around... PRINCESS (somewhat worried) davvero Da vero? Really? MAURIZIO mi stimate mentsojpnero Mi stimate menzognero? Do you take me fora liar! PRINCESS (noticing on his lapel the nosegay of posies given him by Adriana) il itardo kadgo'nato nom fu da um —profirmato —‘penno Tl ritardocagionato non fu da un —profumato —_pegno? Your delay caused wasitnot by a perfumed ——_—keepsake? (Wasn't your tardiness caused by that perfumed keepsake you're wearing?) MAURIZIO ‘kwale Quale? Which one? PRINCESS (pointing to the nosegay) kwel matttsetto Quel mazzetto... ‘That —nosegay... MAURIZIO (caught in alie, but with great presence of mind) © per voi Eg per voi... Its for you.242 Adriana Lecouvreur, Act It PRINCESS ‘sjete um perfettto —seduittor “+ Siete un _perfetto seduttor! Youre a perfect, seducer! MAURIZIO (beseechingly) mas:solve'rete Mrassolverete? Will you absolve me? (May Ibe forgiven?) PRINCESS (extending her hand to him) nol dovrei Nol dovrei. Tought not to. al MAURIZIO (kissing her hand) i ‘grattsje 4 Grazie! Hy ‘Thank you! PRINCESS (showing him where to sit) sedete Sedete. Sit down. kon la re'dsina a ‘lungs favellai Con Ia Regina alungo favellai 1 With the — Queen for along time I spoke #4 dei diritti ‘vostri € delle ‘vostre ‘dsesta 3 dei diritti vostri e delle vostre gesta, about the rights yours. and about your daring exploits, e Vidi il fpjants ne sswoi doltfi_ ‘rai e vidi il ~—piamto me’ suoi_dolei_ rai... and Isaw the fears in her sweet _ eyes. : il kardinal~=—konisente = ma_—protesta j Cardinal. ~—consente... ma _—_protesta... The Cardinal consents... but protests... MAURIZIO (carried away) ‘grattsje 0 dgentil tra ‘muzike di ‘gloria Grazie, o —— gentilt Tra musiche ai i Thankyou, oh —kindlady! «= Amid tunes of glory per voi veldro ‘lastro ‘della vittoria voi vedrd astro della vittoria! per because of you Ishallsee _—the star of victory! +Adriana Lecouvreur, Act IT 243 PRINCESS (with affectionate concern) ma pnidentsa = ‘sjete“Yfinto di nemitfi Ma prudenza... siete _cinto di nem But beprudent... you're surrounded by —_ enemies. MAURIZIO (with a flash of pride) ki ma‘vinto Chi m‘ha vinto? Who has ever vanquished me? PRINCESS som po'ssenti Son Possenti, They're powerful. MAURIZIO (shrugging) non li temo Non li temo. 1 do not fear them, PRINCESS ‘pronti ‘stanino ad ‘onpiestremo Pronti stanno ad ogni estremo. Ready they are togotoany extreme, al Te fu ‘kjesto Oggi stesso al Re _fuchiesto... Today even, ofthe King it was asked... (Even today, they asked the King...) MAURIZIO il mio ‘koko Tmio collo? (For) my neck? il ‘vostro atrresto vostro arresto! Your arrest! MAURIZIO la bastixfa nom ve'dro La —_Bastiglia non vedrd! The Bastille I will not see! (They will never lock me up in the Bastille!) PRINCESS ke farete Che — farete? ‘What will you do?244 Adriana Lecowvrewr, Act If MAURIZIO partir Partird. I shall leave. PRINCESS ke mai ditfeste ‘dopo si gran __vagabon'dad:dso Che mai —diceste? dopo si gran vagabondaggio, What did yousay? After so much roaming all over, partir volete ‘sentsa un fremito damor partir volete senza un fremito @'amor? Teave youwish _withouta thrill of love? (you wish to leave [again] without [enjoying at least] a thrill of love?) ed io dowrei la'ffarvi spatrir ‘kome um Ed io —dovrei Insciarvi—sparir come un And I should allow you todisappear like a um — faffino un injganno = del_—sitibonds. kor un fascino, un inganno del sitibondo cor? a spell, a betrayal of my thirsty heart? MAURIZIO ‘kwando ill dover tfi'kiama = al suo._—me'ssadsd30 Quando il dover cichiama al. suo_—_-messaggio When duty calls us, at its. message ‘omni cimpjanto —tatfe ‘oni Iwzinga ‘mwor ogni rimpianto _tace, ogni Iusinga muor. every regret, is silenced, every enticement —_ dies. (all regrets fall silent and all enticements die.) PRINCESS (looking searchingly in the eyes) mauirittsjo Maurizio! MAURIZIO (coldly) sipnora Signora... Miilady... PRINCESS se parti nom ‘mami Se parti, non m'ami. If —_youlleave, (that means) you don't love me. MAURIZIO mi ‘salvo Misalvo. Tm protecting myself.Adriana Lecouvreur, Act IT 245 PRINCESS mi ‘sfuddsi Mi sfuggi! ‘You're running away from me! MAURIZIO Jo ‘debsbo Lo debbo. Imust. PRINCESS (flinging her arms around his neck) ai rikjami dei ‘batfi kotfenti Abt I richiami dei baci cocenti, Ah! The call ofthe kisses buming, dei ‘batfi_prokat{i non ‘sent dei baci procaci non senti? ofthe kisses provocative do you not feel? (Do you not feel the call of my burning, provocative kisses?) MAURIZIO (gently repulsing her) la‘glorja =—mimvita minjvita ‘nore Lagloria —m‘invita, miinvita ——onore... Glory beckons, beckons me honor... (Glory and honor beckon...) PRINCESS (disengaging herself) tu ‘menti_lonor dun amante sta ‘nella sua ‘fede Tu —menti! L’onor d'un amante sta nella sua fede. You lie! Thehonor of a_lover lies in his faith, (A lover's honor lies in being faithful.) MAURIZIO (to himself listante © profittsjo Liistante — @ ~—_—propizio.. The instant is —_propitious.. (This is the right moment {to get out]...) PRINCESS (bitterly) Io ‘zgwardo = ‘mio vede -ne‘Hanima tua Lo sguardo mio vede nell'anima tua... The eyes mine can see into the soul yours... (My eyes can read inside your soul...) dime sei da ‘stanko dime sei_— gi stanco. Of me youre already tired. la ‘noja timbrna = la_—fronte si franko La noia timbruna Ia_—_fronte... Si franco! Boredom _isdarkening your _ brow. (can see [in your face] that you are bored with me.) Be frank (with me)!246 Adriana Lecouvreur, Act It MAURIZIO (to himsel) menttice non s9 ke ‘koza diro ‘Mentire non $0... Checosa —dird? Tolie know not how. What shall I say? PRINCESS (quickly, reading his thoughts) ke aimate unaltra dime pj ‘skaltra Che mate un'altra dime pitt scaltra, That you love another Woman than me more cunning. (amore cunning than I.) MAURIZIO sippora devoto onora vi ‘sono Signora, __devoto ognora vi sono... Milady, devoted always toyou Tam... PRINCESS dei dir ki e Dei ir chi @ You must _tell (me) who is MAURIZIO e ‘vans gE van I's nouse! PRINCESS il ‘nome io'vokko —kome si‘kjama = gwai se ‘tatfi Tnome io voglio.... come sichiama... guai, se tacit Thename ‘IT want. what is woe betide _if you keep silent! MAURIZIO. mai Mait Never! PRINCESS (menacingly) ed io la_—'maskera «le strapspe'ro Ed io In__—maschera—_lestrapperd! And I the — mask will stip off her! (And I will strip the mask from her [face]}) MAURIZIO ‘grattsja sinnora Grazia, signora! Have pity, _milady! ARIA ‘Tanima 2 e la ‘meta € © onttana L'anima ho e la meta & ——_ontana: My soul is and my goal is —faroff;Adriana Lecouvreur, Act IT 247 non aiddsundsete —laramponpa ‘Vana alllansja ke ~—makikora Non aggiungete la rampogna vana all's che — m'accora... Do not add rebuke vain totheanxiety that _afilicts me... assai vi'debo = a = ma_— se ta'mor ‘katdra Assai videbbo; ah! ma se_—‘'amor cadra Much Towe you; Ah! But if love should cease ‘memore ——_atffetto in kore ig kor mi fjorira memore _affetto incor, in cor __mifiorira... amemory affectionate inmy heart, inmy heart will flower... (an affectionate memory of you will flower in my heart...) PRINCESS (with furious scorn) amore © fjam:ma ‘fener amista Amoreé fiamma, —cener amistit Love is aflame, ashes friendship! (Love is a burning flame, friendship is nothing but ashes!) (The sound of an approaching carriage is heard in the distance.) MAURIZIO (as he turns to look out the window) sipnora askoltate Signora, _ascoltate! Milady, listen! PRINCESS vnaltra vettura Un'altra ——_vettura! Another carriage! MARIZIO kwalkuno —_aspetttate Qualcuno —_aspettate? Someone you await? (Are you awaiting someone else?) PRINCESS nesisuno 9 ppaura, Nessuno... Ho paural Noone... T'matraid! MAURIZIO siferma al_—siale Siferma al_—_viale. It's stopping at the path. PRINCESS 2 tfel mio matito O ciel Mio maritot Oh heaven! ‘My husband!248 Adriana Lecouvreur, Act It MAURIZIO il ‘printfipe ‘Principe? The Prince? PRINCESS ei ‘sale He is coming up... MAURIZIO ma ‘dunkwe ——_se’gwito Mtha dunque seguito? Did he have me then followed? (Did he then follow me here?) PRINCESS perduta mii vegigo Perduta mi veggo! Lost Tse myself! (Lam ruined!) MAURIZIO difendervi io ‘vo la ‘dentro Difendervi io —vo'..._ Ladentro. To defend you I wish... inside there. (pushing her through the door of the small adjoining room) PRINCESS non Teggo Non rego! 1 can't bear it! MAURIZIO salvarvi sapro Salvarvi saprot Tosave you I shall manage! PRINCE (entering through the glass door at the back, followed by the Abbé.) vi koffam_ “konte sul fatito Vicogliam, Conte, sul fatto. We've caught you, Count, inthe act. ABATE im fla'grante In flagrante! In flagrante delictu (Red-handed!)or i } 5 Adriana Lecouvreur, Act It MAURIZIO (feigning surprise) voi sippori Voi, signori! You, gentlemen! PRINCE re di Re di King of ABATE ‘asso di ‘kwori Asso di cuorit Ace of hearts! MAURIZIO € una ‘felja E una celia? Isthis a joke? PRINCE affatito Niente affatto, Nothing. of the sort. ABATE io Io vista Jo ho vista. I saw her. PRINCE ‘vista io Io Vista io ho. I (also) saw her. MAURIZIO ki Chi? ‘Who? ABATE la ‘dama Ia dama. The lady. 249250 Adriana Lecouvreur, Act It ABATE ‘veste ‘bjanka Veste bianca. Dress whit PRINCE vita ‘znella Vita snella. Waist slim. MAURIZIO non ka'pisko Non capisco. Tdon't understand. ABATE, PRINCE ‘tutto ion 99 Tutto jo sot Everything 1 know! MAURIZIO (seriously) ‘printfipe se tf. vatkckora_ = ‘sono 'akki ‘ordini ‘vostri Principe, se cid. —v'accora, sono agli on i Prince, if it distressesyou Tam atthe orders yours. PRINCE un duetlo Un —duello? A duel? ABATE a kwestora A quest'ora? At thishour? PRINCE ‘rider noi voX4amo Rider noi —_vogliamo, Tolaugh = we —_wanted. MAURIZIO (angrily) Tiderreste dime. Ridereste dime? Would you be laughing at me? PRINCE (delicately) kreditor mio voi Creditor mio. v Acreditor mine you (Lam in your debt...) vostri. sev snacenmsieiearruteantesnttanetmesinenioanioenistn eee tea etetNts entq Adriana Lecouvreur, Act II ABATE debitor ‘vostro e'Adje Debitor vostro eglié Adebtor yours heis. (He is in your debt.) PRINCE la dyklo ABATE kaprittfo _anttiko Capriccio antico... A fancy old. (@ former fancy of yours...) MAURIZIO ke kolei Che! colei? ‘What! That woman? PRINCE ‘nero da ‘stanko voi lamate edio Nero gik —stanco. Voi 'amate edio Iwasofher already tired. You love her and ABATE un ser'vidso ‘k&je— datmiko Un servigio gli@ d'amico. A service this is of. friend. (This is the act of a true friend.) PRINCE (craftily) uj gratissimo favor Un gratissimo favor... A most pleasant favor... MAURIZIO (grasping the mistake) or —-Komiprendo —_laviventura Or comprendo aventura! Now understand what's going on! PRINCE, ABATE bwom pretesto ¢ «=— di_—cottura Buon pretesto 2 di_—_roftura. ‘A good pretext itis to break (things off with her). PRINCE (offering him his hand) kwa la sman Qua ta man. Here, my hand. mafifranko m'affraneo. am rid (of her). 251252 Adriana Lecouvreur, Act II ABATE ‘sentsa rayfkor Senza rancor! Without rancor! (No hard feelings!) (As the Prince and Maurizio shake hands laughing, a white figure is seen outside the glass doors.) ABATE (opening the door to admit Adriana) ‘ekckovi alfin divina Eecovi alfin, Divina! Here youare at last, Divine One! PRINCE (going to her) vaspetta 0 == gran_sultana il ‘konte di sasssonja Viaspetta, 0 gran Sultana, —il_—= Conte di Sassonia.. Isawaiting youoh great ‘Sultana, the Count of Saxony. ABATE (presenting her to Maurizio) "basta ‘dice adriana Basta dire: Adriana! Itsis enough to say: ‘Adriana! ADRIANA (astounded at discovering that her supposedly humble lover is Count de Saxe) ‘Yfelo Cielo! Heaven(s)! MAURIZIO (also astounded) ‘dessa ADRIANA (as ifto hersel) mauritsjo il, konte Maurizio... I Conte... Maurizi the Count... MAURIZIO ‘tatfi Tacit Be silent! PRINCE ‘konte la ‘grande attritfe patrotfinar — vorsria Conte, In grande attrice Patrocinar —vorria Count, this great actress tochampion would like un ‘dsovane uffitfale un giovane officiale... a young officer. (Count, the great actress would like to champion [the cause] of a young officer...) Srseeeainanomnsmenianimseepreneatart tei aie acne ENEAdriana Lecowvreur, Act II MAURIZIO amore e —_strate’dsia Amoree _strategia. Love and strategy. ADRIANA ‘ora non ‘ozo piu Ora non oso pit. Now Idon't dare it any longer. MAURIZIO e ——perke mmai E __perché mai? And why not? ADRIANA (deliberately looking at him) perke il'dsovane —nona_‘dwopo ‘Forse dime Perché ilgiovane non ha d'uopo, forse, dime. Because the young man has no need, perhaps, of me, PRINCE abate t —ditmentiki_—_lesisenttsjal Abate, tu. dimentichi —_I'essenzial. ‘Abbé, you are forgetting the essential (thing). ABATE (catching the meaning) la ‘tfena ‘korr> a disporla La cena? Corro a disporla The — supper? Tilrun to see toit. PRINCE (holding him back and winking, as both he and the Abbé begin to leave) ed io vekKo sul djetro'ffena Ed il_—_veglio sul dietroscena. And I willwatch backstage. ‘kolta lab:bjamo in. rappola. =e = ‘dentro tfi sara Célta Vabbiamo in trappola, —e—dentro ciss Caught wehave her ina trap, and inside she should be. (We've caught [La Duclos] in a trap...she must be inside.) (They both leave.) ADRIANA (spiritedly) ma ‘dunkwe vero il‘gran mautittsjo voi Ma dunque, vero? il gran Maurizio, voi? But — then, is it rue? the great Maurizio, you? MAURIZIO (carefully) e volevi seidurlo E volevi sedurlo? ‘And you wanted to seduce him? 253254 Adriana Lecouvreur, Act II ADRIANA in tu favor In tuo favor. In your favor. adriana Adriana! : Adriana! (You would do that for me, Adriana!) ADRIANA ‘eri ‘deppo dun ‘ono nelassizadet:lumile—alfjer Eri degno d'un trono nell'assisa del'umile_—_alfier: Youwere worthy ofa throne inthe uniform ofahumble — ensign; or la frode dgentil ti perdono Or Ia _—frode gentil ti perdono, Now the deceit gentle forgive you, (now forgive your gentle deceit,) poi ke ‘sei wal ti pinse il penisjer Poi che sei qual tipinse il pensier. since youare as you were painted (by) my —_ mind. (since you are as what my mind always painted you.) MAURIZIO adriana de tatfi Adriana, deh, tacit ‘Adriana, please, say no more! ADRIANA ‘affami Lasciami Let me MAURIZIO nn —_ke ‘dgova tu sei la mia vittorja Ja mia ko'ona ‘nova No! Che giova? Tusei Ia mia vittoria, Ia mia corona nova, No! What is the use? Youre my victory, my — crown new, tu sormidente sei «tase oprotfelle.— irate tu sorridente sei. tra le_~—_—procelle irate, you — smiling are amid the storms angry, (you are the smile amid angry storms,) il ido “della ‘kalma il ido della_calma, the shore of calm, il ‘kandido ve'ssiltlo i candido vessillo, linkorcrotta ‘palma Vincorrotta palma. e il e the — white standard and the incorruptible laurel.Adriana Lecouvreur, Act IT 255 ADRIANA son del tuo ‘sole. un ‘rad:dso Son del tuo sole un —_raggio. Tam of your sun a ray... (Lam but a beam {of light] in your bright sun...) MAURIZIO ‘nella ta ‘gloria nella tua gloria, in your glory, ‘spada_ardente ‘ska spada ardente serivi sword flaming write retfizo neklombra —_langwi'ro reciso nel'ombra —_languird! cutdown, inthe shadow shall langui: istorja ‘vita mia vita mia, life mine, la radson suprema la’ ‘somma poevzia In ragion suprema, la somma the meaning supreme, the —_loftiest (Oh adored one of my life, you are the supreme meaning,) (The two lovers stand in a passionate embrace.) MAURIZIO (caressing her) fantfulla Fanciulla! (Silly) girl! (Freeing himself quickly.) ma ti'skosta. «= e’ktko._ritoman ga Ma tiscosta... Ecco ritornan ia. But move away... there, they/re returning already. MICHONNET (entering, to the Abbé, who is trying to prevent him from leaving the villa) sipor a’bate korteze ‘sjate Signor Abate, cortese siate... Mr. Abbé, kind be. (Monsieur l'Abbé, be so kind...)256 Adriana Lecouvreur, Act II ABATE ‘sono dolente Sono dolente. Tam sorry...(but...) MICHONNET affare urdsente Affare urgente! ‘Matter urgent! ABATE e Ja—_kon'senna £ la ‘consegna! Those are my _— orders! MICHONNET me non impepna Me nom impegna... Me they do not concer... ABATE (solemnly) ‘tYaskum pwo entrare ne'ssun uffir Ciascun ud entrare, nessun useir. Anyone can come in, noone (can) leave. MICHONNET (insisting kowestjone ‘dante Questione (it's a) matter of theater! per ‘una ‘nwova ‘parte me im'posto Per una nuova parte m'é imposto For a new part _ithas been ordered me di parlar ‘tosto kon la dyklo di parlar tosto con la Duclos. to speak soon with la Duclos. (Ihave been ordered to speak at once with la Duclos about a new role.) ABATE Con la Duclos? MICHONNET ‘vado € —ritomo ‘prima di ‘dsorno Vado e —ritorno prima di giorno. Tshallgo and _—retum before daybreak. ABATE (bursting out laughing) aklor restate Allor restate... Then stay...Adriana Lecouvreur, Act It 257 MICHONNET (surprised) ke ‘ddite abate Che dite, Abate? What are you saying, Abate? ABATE ‘diko ke a ‘Jena ‘alma siena kon noi Dico: che a cena T'alma sirena con noi Tsay that to__ supper the soulsiren with us (I'm saying that la Duclos, (that siren!), is coming to supper with us...) poikella eg poich'ella = 2 since she is ADRIANA (overhearing this, shaking) Jei— kwi kon noi Lei qui? Con noi? She here? With us? MICHONNET davwero © poi Davero? E __ poi? Really? ‘And — what then? ABATE (ignoring Michonnet's signal to be quiet) ‘kwestae—tfitera ‘dove sta'sera Questa2 itera, dove stasera This is Kythera? where this evening ‘dava segreto konjvenno ‘jets dava segreto convegno _lieto gave asecret tryst happy atlarmi ate venerea ——‘marte al'armi Yarte, Venerea Marte. to arms art, Venus to. Mars. (This is Kythera, it served this evening as a happy secret meeting place between art and arms, Venus and Mars.) ADRIANA (steadying herself) al ‘konte Al Conte? Tothe Count? MAURIZIO (threateningly) abate Abate! ? Let us not forget that both the Abbé and the Prince are under the mistaken notion that itis la Duclos who made the secret assignation with Maurizio atthe villa, and that therefore she must be there. ° Kithera, the island in the Aegean, favorite spot of Venus/Aphrodite. The (erroneous) allusion here is, ‘that Venus (la Duclos) is having an assignation with Mars (Maurizio) at this most favorite love-spot.258 Adriana Lecowvreur, Act IT ADRIANA kontinwate Continuate. Continue. MAURIZIO (fiercely to the Abbé) tatfete ripeto © ffalso Tacete, ripeto! E falsot Keep quiet, repeat! It’s not true! ABATE (to Adriana) & ‘wero tfaskum patra ‘Kofferla = la E vero! Ciaseun —potrA coglierla =. I's true! Anyone can catchher —_in there. ADRIANA (going towards the room in which the Princess is hidden) io ‘stesisa To tessa! 1 myselft (L myself will go in there.) MAURIZIO (preventing her entering, as he looks her straight in the eyes) un ‘solo “detto Un solo dettot One only word! MICHONNET (making up his mind and quickly going inside) {fi ‘volo Civolo! Tm flying in there! MAURIZIO (hurriedly, in a low voice) adrijana askoltate —_pollitiko dizenno kwi mi konidusise Adriana, —_—ascoltate...__ politico disegno qui micondusse: ‘Adriana, listen to me... political reasons hhere have brought me; e in “soko i futuro mio ‘renno z in gioco il futuro mio regno. Is at _— stake the future my kingdom. (My future kingdom is at stake.) ADRIANA (doubting) ela duklo E Ia Duclos? And la Duclos? MAURIZIO none lei lo'dsuro——sullonor ‘mio it sull'onor mio, ‘upon my honor. (ooking steadily at her)rae i j Adriana Lecouvreur, Act II mi ‘kredi Micredi? Do you believe me? ADRIANA (after looking him searchingly in the eyes) si. Yes. MAURIZIO ed or Ed or And now ke abate nom ‘penetri la ‘dentro che I'Abate non penetri 1A dentro, seethatthe Abbé doesn't goin there ‘ove si tfela ‘kwella per’sona ove sicela quella Persona, where ishiding that person. ‘poffa kon ‘oppi_kautela vo adispome la Poscia,con ogni cautela vo adisporne Ia Then, with every precaution, Iwill arrange her ma velderla non dei me lo prometiti Ma — vederla non déi. Me lo prometti? But see her youmusn't, Do you promise me? ADRIANA (lovingly) andate io vekse'ro su ei Andate.. io —_veglierd su lei. Yougo... I shall watch over her. MAURIZIO (kissing her hands) a ‘grattsje atd:dio adriana Abt Addiot Ab, Farewell ADRIANA (after Maurizio has left the room, to herself) sublonor suo dsu'ro ‘ekKi non sa mentire Sull'onor suo giuré... egli tonsa mentire. Onhishonor he swore... he —_is incapable of ‘lying... la promesisa—tetnr La promessa —terrd. 259 fuga fuga. escape. The promise I shall keep, ABATE (to Michonnet, who has just returned from the room looking bewildered) e ‘bbene E bene? ‘Well?260 Adriana Lecouvreur, Act II MICHONNET ke ‘grankjo ke ‘bbel kewi pro kwo Che granchio! © Che bel qui pro quo! What ablunder! What a lovely mix-up! none la dyklo Non La Duclos! Iisntt La Duclos! ADRIANA, ABATE ki ‘dunkwe sara Chi dunque Who then can it be? MICHONNET silentsjo se'greto di ‘stato Silenzio! _Segreto di Stato! Silence! (It's a) secret of State! ABATE fatfeto Faceto! Funny! ADRIANA atmen Ia vedeste Almen Ia vedeste? At least did you see her? MICHONNET (desolate) no ‘tenebre ‘peste No: _ tenebre peste... No, darkness pitch... (No, it was pitch dark in there...) ‘mani dsa_—a:lungo © aun ‘ago mi'pungo mani gid allungo, aun ago mi pungo... domanda la_—votfepju—‘blanda domanda Ia voce pit’ —_blanda, asks the voice most soft, kollei ke tferkate non ‘sono Colei che —cereate non sono. She whom youre looking for Tam not. hands Iwas groping about, and ona needle I pricked myself. J i |Adriana Lecouvreur, Act I 261 se ‘tosto furd:dsir ai naskosto mi fate Se tosto fuggir ai nascosto. —_—mi fate, If soon toescape —frommy —_hiding place you manage for me, (if you manage to arrange soon for my escape from this hiding place,) kontents ——_sarete dime contento —_—sarete dime" happy you'll be with — me." (you won't regret it") (You will be very happy with the reward I'l give you.") ADRIANA, ABATE An! Abt ADRIANA ke ‘strana aviventura Che strana avventura! What a strange adventure! ABATE stranissima afife Stranissima affe! Most strange indeed! ADRIANA eppoi E poi? And then? MICHONNET sontornata ke —‘devesi far Sontornato. Che devesi far? Tretumed. What should I do? ABATE ke fare vederla Che fare? Vederla! ‘What shall we do? See who she is! (taking a candelabrum from the table) un ume per me Un lume per me! A light for me! ADRIANA (barring his way) non ‘sjete diskreto e ‘daltri un segreto Non siete discreto. E altri un segreto. You're not being discreet. Itis ofanother ~—a_—_secret, (it’s someone else's secret.)262 Adriana Lecowreur, Act II ABATE del ‘konte e —_laimika Del Conte @ —_—'amica. Ofthe Count she is the friend. (les the Count's [Maurizio] mistress.) ADRIANA (smiling, but firm) abate fermatevi kwi njum__pasisera Abate, fermatevi! Qui niun passer. ‘Abbé, stop! Here no one shall go in. ABATE e il ‘printfipe “duke E il Principe, dunque? And the Prince, then? ADRIANA si ‘deve rallegrar la bella © © imnotfemte Sideve rallegrar. La bella @ —_inmocente! He oughtto be pleased. The beauty is innocent! (He should be pleased; his misstress [Duclos} is innocent!) ABATE (going out) In vado ad imformar Lo vado ad informar. Tam going to inform him. MICHONNET (to Adriana, after the Abbé has gone) ke ‘mediti adriana Che — mediti Adriana? What are you thinking ofdoing, Adriana? ADRIANA salvar ‘ewella per'sona kiugkwe sia Salvar quella persona... chiunque _sia. To save that person. whoever she may be. MICHONNET per me Per me? For me? ADRIANA n9 No. No. MICHONNET (struck to the heart) per lui ‘oppo ‘bwona Per lui. troppo buona! For — him?. 100 good!Adriana Lecouvreur, Act II 263 ADRIANA “Kjelo promizi Glielo promisi. Tpromised him. MICHONNET inkauta noi sjam_—_‘povera ‘dente Incauta! Noi siam _povera gente. Reckless girl! We are poor _ people. laffam skertsare i ‘grandi Lasciam ——_scherzare i grandi... Let us leave to amuse themselves the great ones... (Let the great ones amuse themselves...) non ffi non ci not tous brings lucre nothing. (it won't do us any good.) ADRIANA (irritated) Io vokKo Lo voglio! Twant to! MICHONNET ke ‘debrbo far Che debbo far? What must I do? ADRIANA ve'kfare ke ‘njuno ‘entri Vegliare che —niuno entri, Watch that noone comes in. MICHONNET (as he goes out) ° kapito Ho capito. Tve understood. (Left alone, Adriana blows out the candles one by one.) ADRIANA (her mind finally made up) sia Siat So be it! (She goes to the door of the inner room and knocks three times.) non ris ponde aprite apritemi sippora ‘Non risponde... apritel. apritemi, signora... She doesn't answer... open! Openit tome, lady...264 Adriana Lecouvreur, Act It nel ‘nome di —_maurittsjo nel nome di Maurizio. inthe name of | Maurizio... (The door opens slowly and a barely distinguishable white form appears on the threshold.) lavrei dsurato Liavrei giurato! Tcould have — swornit! PRINCESS ankora ke vollete Ancora! Che volete? Again! What do you want? ADRIANA salvarvi Salvarvi.. To save you... PRINCESS e —‘kkome ‘onni kammino = me toto E come... ogni cammino = m'é_tolto... And how... every path, to me isbarred. (every avenue of escape is closed to me...) ADRIANA (offering the Princess the key originally given to her by the Prince) ‘kewesta ‘kjave vi skjude'ra il dsardino Questa chiave vi schiuderd i gin This key will open to you the garden, um ‘passoe —‘sjete _‘libera Un paso e siete _‘libera. One step and you're free. PRINCESS (cautiously holding out her hand) ‘gratisje Grazie! Thank you! ADRIANA (feeling for the other's hand in almost total darkness) muidiste ‘bene Miudiste bene? Did you hear me well? PRINCESS (seizing the key) ‘date Date... Give it (to me).. . ens uaa aA sccmmmnnsdetninnnsnbietsiiinnsaancasmnarineet (pledtieasi he neanete emiaAdriana Lecouvreur, Act IT 265 ADRIANA ma ‘ffendere nom vista. ‘vi komjvjene Ma scendere -—nonvista_—_—_—viconviene. But descend unseen you must. ‘But you must go down unseen.) me ‘kowesta‘kaza_ippota Me questa casa ignota. Itistome this. house unfamiliar. (This house is unfamiliar to me...) ilmio konsitfo — € ~—_intferto Mmio consiglio 2 ~—_ineerto... My —_ advice is uncertain... (My directions may not be very precise...) PRINCESS io la konosko To —_taconosco. 1 knowit, (Linow the house.) (feeling her way along the wall) un ‘ufo sekreto © kwi Un —uscio secreto & qui A door secret is here. (Pushing aside the tapestry, she happens on the correct panel and presses it to open.) ‘ekckolo aperto ma voi iki sete Eccolo aperto!Ma voi, chi_ siete? There, it's) open! But you, who are you? ADRIANA. (defensively) ke importa andate Che importa? Andate! What does it matter? Got PRINCESS ‘wop:po vi ‘debsbo Troppo vi debbo! Toomuch — Towe you! ADRIANA dimentikate Dimenticate. Forget it. PRINCESS (trying to make out Adriana's features) vorrei vedervi Vorrei vedervi. Td like to see you.266 Adriana Lecouvreur, Act It ADRIANA none pridente Non prudente. Itisn't wise. PRINCESS (struck, to herself) ma —_‘kwesta ‘votfe lwdi sovente Ma questa voce Fudii sovente! But that voice... Tve heard it often! (to Adriana) dukessa —'sjete_voi Duchessa, siete vou? Duchess, sit you? ADRIANA No. PRINCESS perke tfelarvi Perche celarvi? Why do youhide? ADRIANA (urging her towards the escape door) ‘Tattimo Fuddse ‘reff il pe'rikgo Liattimo ——_fugge eresce il perigiio. Time is running out... isincreasing the danger. PRINCESS © il bwon_ konsikfo per. me ‘porse E il _—_ buon consiglio per me porse? And the good advice for me, who _ offered it? (Who has offered such good advice on my account?) ADRIANA ki mi kontfida “tutto Chi mi confida tutto... Someone who confides to me everything, PRINCESS batdate kweste ‘una ‘sfida Badate; quest'é una sfida! Be careful; that is, a challenge! ADRIANA perke un dellitto Perché, un delitto? Why, a crime?eee . Adriana Lecouvreur, Act II 267 PRINCESS ma kia ——maviritisjo © dava_untal ‘dritto Ma chi a Maurizio dava_untal dritto? But who to Maurizio gave such (a) ~— right? (But who gave Maurizio the right?) ADRIANA © a wiki “dunkwe kontfesse ‘kwel:lo E a voi chi, dunque, concesse quello. And to you who, then, granted the (right) di nominarlo = ‘kome um fratello di nominarlo come...un_fratello? to talkofhim like... a _brother? (And who gave you the right to talk of him like...a brother?) (with a choked voice, but forcefully) am:mutoiste su‘wia parlate Ammutoliste? Su, via, parlate! You've lost your tongue? Comeon, _—_speak! (catching hold of the Princess by the hand) Ja‘vostra = "mano ‘wema larmate Lavostra mano trema... Vamate! Your hand is trembling... you love him! PRINCESS (pulling her hand away) si kon ‘ansja kon limpeto ardente diki ‘sente Si, con 'ansia, con 'impeto, _—_ardente iichi sente, ‘Yes, with the frenzy, with the force ardent of who feels primamente diskjudersi_ il = kore primamente dischindersi il core! for the first time opening up her _ heart! ‘ei © ‘mio la'mor suo maprpartjene Egii 2 — mio! L'amor suo m'appartiene! He is mine! His love belongs to me! ki mai ‘vjene Ie katene sue ‘doltfi_ a tentar si Chi mai viene le catene sue dolei_ a —tentar? si? Whoisitthat comes the chains his sweet to _put tothe test? Yes? (Who is it that has come to put his sweet chains [of love for me] to the test? Well?) ADRIANA io son sua_—per lamor ke —pjufforte ‘della. ‘sorte To son sua per Vamor ch'é pit forte della sorte! I am_— his bydintof ~—alove thatis stronger than fate!268 Adriana Lecouvreur, Act II PRINCESS (with growing ardor) ‘ekki € il sol ke ratttfende fiskjara 4 Fgli @ il _— sol. che raccende =e He is the sun that —kindles and Jalma —ippara nellamara sua ‘notte Yalma ignara nell'amara sua_notte s-my soul unknowing inthe bitter its_——_night (my unknowing sou! in its bitter cruel night!) ADRIANA ‘eki el re— dei mjei_‘soppi Egi @ = il_~—sre_— dei_—smiiei_sogni, He is the king of = my dreams, ‘esi il fume ‘esti il =u. eg il lume, egli il nue, he's the light, he's the god, ke miassume —_ne‘:lultimo No, you're afraid (of me)! PRINCESS (with profound loathing) tidisprettso ti kal'pesto Tidisprezzo! ti calpesto! I despise you! I trample you underfoot! ' ADRIANA (with proud irony) ~! vi ‘salvo Visalvo. Tam saving you. che = mi assume nell'ultimo cielo! ‘who transports me towards the furthest heaven! (to the seventh heaven!) PRINCESS a —_ti'skopro tiscopro! » i ‘Ah! I'll find out who you are! ADRIANA (controlling herself) voi ki ‘sjete Voi chi siete? Who are you? 5 PRINCESS (firiously) { som po'sisente i Son possente! | Tam powerful! | ADRIANA (with disdain) | no temete | No, _temete! i i |nes nti a SNR Adriana Lecouvreur, Act If 269 PRINCESS (fiviously) nom pju Non piit! ‘Not any more! (At this moment servants and footmen bearing lights cross the terrace outside. Some descend the steps into the grounds, while others stop at the top of the stairs.) PRINCESS (in sudden panic) tfel Ciel! Heavens! (under her breath) mio — ma’rito Mio marito! My husband! ADRIANA (to herself, catching sight of the newcomers arriving) il ‘printfipe Tl Principe! The Prince! (defyingly, to the Princess) Stay (then)! PRINCESS (wringing her hands) dio Dio! God! ADRIANA (going towards the footmen at the top of the stairs) ‘presto kwi dei ‘Tumi Jenidete ‘dunkwe Presto, qui dei lumi! Scendete _dunque! Quickly, hhere, some lights! Come down then! (The Princess, seeing that the servants are about to enter the chamber with torches, quickly disappears through the secret door.) ADRIANA (returning to discover that the Princess has fled) fudedsita ‘vile Fuggita! vi She's escaped, (the) coward! (As the Prince, Abbé, Jouvenot, Dangeville, Poisson and Quinault and colleagues pass along the terrace, Michonnet re-enters the room. He has in his hand a bracelet dropped by the "unknown" woman in her hasty escape, which he now hands Adriana. She takes it, and ‘coming to the conclusion that her lover has played her false, sinks into a chair in utter despair) END OF ACT ITAdriana Lecouvreur, Act III an ACT IIL (The great ballroom in the Prince de Bouillon's palace, decorated in splendid Baroque style. Large mirrors and portraits decorate the walls. To one side is a stage platform concealed by curtains. Under the direction of the Abbé, lackeys and servants are putting the finishing touches on the decorations for the forthcoming soirée. It is early evening.) ABATE (to the servants) e wia kozi nom va laffate Eb, via! Cosi non va. lasciate Oh, come on! That wont do. let voi nonavete ‘gusto Voi nonavete gusto... You have no taste... il printfipe mi dje di regolar la festa I Principe = mi dié di regolar Ia festa The Prince gave me to arranging =the ~—_—festivities ‘oni. ‘ampja fakolta ogni ampia facolti. every ample faculty. (absolute control to prepare the festivities.) PRINCESS (musing to herself as she enters, dressed for the occasion) a ‘kwelila'donna mia rivale Ab! quella donna... mia_rivale! Ah! That woman... my —_ rival! © ome skoprime il grado_ le fattettse il ‘nome Oh, come scoprirne —il_—_grado, Ie fattezze, il nome? Ob, how tofindout her _—rank, | what she looks like, her name? ke fa ke wwol rubarmi amor mio Che fa? Che —vuol? Rubarmi —_l'amor mio! What does she do? What does she want? To steal my beloved! perdsnar nom potrei_« nem:meno a ‘ddio Perdonar non potrei_ © nemmeno —a Dio! Forgive Tcouldn't, _noteven God! (Lcouldn't even forgive God himself such a thing!) ABATE (to the lackeys) kwel kandelabro a = ‘manka © ‘kwesto'vazo kwa Quel candelabro 2 manca, © questo vaso ‘That candelabra onthe left, and this vase PRINCESS (continuing to muse aloud about her anxious suspicions) ditfea ki ‘mi komjfida ‘tutto Dicea: miconfida tutto. She said: confides in me everything...am Adriana Lecouvreur, Act IIT € —‘kwestoadunkwe — de_—=smjei_“batfi_ il —frutto E —questo,adunque, de’"_—=smiei_ baci il’ ~—_frutto? Is this then of my — kisses the fruit?” ‘ekki © prison ma di = me_— ‘Tatra ‘ride Egii 2 — prigion.... ma di me_—‘'altra ride! He is aprisoner... but at_~=sme_—thatother woman —laughs! (He is in prison...) 2 ‘kwella'votfe ke kaettsa oe Oh, quella voce che carezza e Oh, that voice that caresses and ‘kwella'vorfe di ‘skerno © di furore quella voce di scherno e di_—_ furore, that voice of anger and of fury, ‘sempre mi‘swona ‘kome ‘skwikla in kor sempre misuona come squilla, incor! always sounds tome like a trumpet blast inmy heart! ABATE (bowing, fawningly) voi printfipesisa fuldsida pju‘dekla ——“bjonda aurora Voi, Principessa? Fulgida pit della —_bionda Aurora... You, Princess? Dazzling morethanthe blonde ‘Aurora. (is that you Princess? You're more dazzling than golden Dawn herself!) PRINCESS (mockingly) ‘dopo il tramonto Dopo il _tramonto? (Even) after the sunset? ABATE ‘sempre voi ‘sjete il ‘sol Sempre! Voi siete il — sol Always! You are the sunshine ke indora teterna ‘notte al polo che —indora l'eterna notte al polo... that —_gilds the eternal night at the pole(s).. (that gilds the eternal polar night...) PRINCESS (looking in a mirror) eterno ‘madrigale eterno madrigale! The eternal couplet! (Oh, the never-ending sing-song!) ABATE nom vi ‘garba no un ‘altro Non vi garba? N'ho un altro... Does it not please you? Ihave another one...Adriana Lecowvreur, Act IT 273 PRINCESS (annoyed) “basta ‘basta ‘basta il ‘primo Basta, basta il primo.. Enough, itsuffices the _first one... mi ‘sale ‘wop:po la ‘gonna Misale troppo Ia gonna? Isitrising toomuch = my _— skirt? is my skirt too short?) ABATE (bending low to take a closer view) dio ‘Ohibat ‘Oh dear! PRINCESS e il busto E il busto? ABATE (admiring her bust) ime Ohima! Oh my! PRINCESS (casting a sidelong glance at him) ke fate Che fate? What are you doing? ABATE (sighing deeply) Jo ve'dete a a sos'piro Lo vedete. You see, PRINCESS (mocking) ‘wop:po Troppo! Too much so! ABATE (clasping his hands together) knidele Crudele! (You) crue! one! PRINCESS (reprimanding him) abate Abate! Abbé!214 Adriana Lecouvreur, Act IIf ABATE! (ingratiatingly) ‘dite ke il ‘dio daimore per ironia fatal Dite che il dio. d’Amore~—per_—ironia fatal, Tell me that the god of Love by irony fatal, (by some fatal stroke of irony,) nom vikompoze il_—~— ‘kore. di‘ marmo fune'ral non vi compose il core di marmo funeral. did not make your heart out of marble funereal. (deadly cold marble...) 2 ‘nova galatea ‘dite ‘alla mia kantson Onova Galatea dite alla mia canzon Oh, modern-day Galatea” answer to my song kio vi fara men ‘ea ‘novo pigmaliion dite chiio vi novo Pigmalion... Dite... that I Tell me.. (Oh my latter-day Galatea, in answer to my song, ill this modem Pygmalion that I can make ‘you less unkind. ..tell me 50, oh tell me!) PRINCESS (shrugging) ‘dite ‘molte Sfokekettse Dite molte seiocchezze. You talk too much nonsense. ABATE lo ‘diko im poezia Lo dico in poesia, Isay it inverse. PRINCESS il printfipe = ~——ne'miko ‘della mitolodsia Il -Principe = —_—smemiico. della mitologia. The — Prince is(an) enemy of mythology. (My husband, the Prince, does not like mythology.) ABATE (with an ambiguous gesture, and slightly sarcastic) uj ‘Kimiko intende Un —chimico intende! A chemist knows something about it! (He most certainly knows a lot about mythology, being a chemist...) PRINCESS tatfete ‘ekikolo kwa Tacete! Eccolo qua. Keep quiet! There he is. * One can see from this exchange that the Abbé is one of those "secular" clerics of the time, not above ‘engaging in a dalliance or two with members of the opposite sex. His relationship with the Princess is probably no more than platonic, but he is a clever flaterer, and does her bidding. Galatea, an ivory statue of a maiden so beautiful that the sculptor Pygmalion fell in love with his, own work and Aphrodite gave it life at his own petition.Adriana Lecouvreur, Act IIT 275 ABATE im fabula In fabula!? AS we speak... PRINCESS la tfiprja La cipria, The powder. ABATE (confused) ‘dove sipnora Dove, signora? Where, madame? PRINCESS (showing him a container) la La There. PRINCE (holding some laboratory implements and handing them to a lackey) kjuidete ‘kwesti od:dsettii nel padi€fon —_—tfe'leste Chiudete questi oggetti nel padiglion _celeste. Lock up these objects inthe pavilion blue. dal mio laborattorjo. -—2gomtbrar_—mi fan le este Dal mio laboratorio sgombrar —mi fan Je feste. From my laboratory clearout © makeme the _ parties. (These parties force me to clear out my laboratory.)* PRINCESS la _‘fiprja ‘dunkwe La cipria, dunque! The — powder, then! ABATE ‘subito Subi Right away! PRINCE abate mio ‘sei_—‘matto ‘ffipria insatubre =e kwesta Abate mio, sei_ mato? Cipria insalubre == questa, My dear Abbé, are you mad? Powder insalubrious is this. (This is a most unhealthy powder.) ABATE skerisate Scherzate? ‘Are you joking? 2 In fabula, from the Latin fabulare "to speak" (giving us the poetic Italian form favellare.) “Let us not forget that the Prince of Boullon isa dabbler in chemistry. This serious hobby of his will eventually bring tragic consequences at the dénouement of this tale.216 Adriana Lecouvreur, Act Il PRINCE ‘njente affatto ‘kandida ‘jeve ‘kome la neve Niente affatto. Candida, lieve come Ia neve, Not tall. White, light as the snow, ‘polve di venere deliidra ——‘tfenere polve di Venere, del'ldra —_cenere, powder of Venus, of Hydra (the) ashes, ela itfetta ‘dekla vendetta E Ia ricetta della vendetta. Itis the prescription for vengeance. ‘muto strmento del tradimento Muto strumento del_tradimento, Silent instrument for betrayal, ‘karo ‘afi eredi ‘aspro ‘alle fedi caro agli eredi, aspro alle fedi. Dear to heirs, bitter for loyalties. ‘arma sottile kwestae del_—_vile Varma sottile questa 8 del_—_vile, ‘The weapon subtle this is of the coward, (This is a coward's subtle weapon,) kastone danells ‘prota e un ave castone @anello, pronto? = un_avello. setting onaring, ready is a grave. (the grave awaits, once the poison is taken from a compartment on a ring.) ‘koppa divina ‘ffende il destino Coppa divina, seende il destino; Cup divine, comes fate; ‘tattsa di te © ‘skampo == nom ve Tama dit, seampo—nonv'a, Cup of tea, escape there isnt. (Fate appears, oh divine cup; one cup of [poisoned] tea and there is no escape from death.) ABATE (frightened, going of) mizerikordja Misericordia! Mercy met PRINCESS (approaching, with interest) un tos:siko Un tossico? A poison? PRINCE © per ‘molte persone E per _molte persone. Itis for many people. { tsecs i 4 Adriana Lecowyreur, Act Ill 27 PRINCESS sarebibe la ‘tfelebre ‘polve di Sarebbe Ia celebre polve di successione? Couldthis be the celebrated "powder of succession"? (Could this be the powder beloved by heirs, thus succeeding to the fortunes of those who have been poisoned to make them the inheritors?) PRINCE appunto ed io. —ladebrbo—analid:dzar Appunto. Ed io —ladebbo —analizzar Indeed. And I must analyze it pre'gats ‘dalla dsustittsja ‘kwale Pregato dalla giustizia quale. requested by the authorities asa... (at the request of the police authorities, since I am. tfele’brato celebrato. celebrated. (...celebrated chemist.) PRINCESS laffate almen veldere Lasciate almen vedere. Allow me at least to see it. PRINCE ai'bo ‘basta lo'dor ‘Obibd! Basta Todor. Ob my! Is sufficient _the odor. (Oh my! One whiff of it would be enough...) PRINCESS nel fattsolletito Nel fazzoletto? Ina handkerchief? PRINCE (leaving) ‘lesto ‘vado a eitporla Lesto vado a riporla, Quickly Tmgoing to _putiit back. ABATE orror Orror! Horror! PRINCESS ‘dova del ‘Konte di —sasssonja_—skoprir lamika ‘nova Giova del Conte di Sassonin_—_scoprir Vamica nova. Imust ofthe Count of Saxony discover his sweetheart new. (Lmust discover who is the Count of Saxony’s new girlfriend.)208 Adriana Lecouvreur, Act III (The Abbé remains motionless and pensive.) ke ‘siete ‘muto Che? siete muto?... What? Are you speechless?... ABATE (rubbing his chin) ‘ferko Cerco... Tm searching (my mind)... PRINCESS wo'vate Trovate! Find out! ABATE Ja vodimo ‘forse La Vaudemont forse? ‘The Vaudemont woman perhaps? PRINCESS ha ha skertsate ‘votfe di Ah, ab, —scherzate? Voce di Ha ha, —_are you joking? (She has the) voice ofa ABATE la baronesisa_—_‘daspre La Baronessad'Aspre? The Baroness d'Aspre? PRINCESS um falsetto Un falsetto! A falsetto! ABATE ola dukes:sa © — Ia_—Duchessa? Or the Duchess? PRINCESS atenaide ——_latmika ‘mia Atenaide, —_I'amica mia? Adenaide, my girlfriend? ABATE non ‘gwasta Non guasta... Unspoiled.. ‘gaddza gazzal... magpie! ¥Adriana Lecouvreur, Act Il 279 PRINCESS (worried, trying to remember) inyfatsi ‘una matlia ‘strana a il sus ‘labibro Infatti, una malia strana ha ilsuo labbro... Asamatter offact, a malady strange shehason hers... ‘Yfelo ke fosise ‘ei che — fosse lei? Ifit were she? la dukesisa domo La Duchessa~—d'Aumont! The Duchess 'Aumont! ABATE (seeing the Duchessa arrive) ‘ekckola kwa (The Prince enters in gala dress while at the same time the guests begin to arrive, announced by the Major-domo,) PRINCESS (to the first lady) ‘sempre la” ‘prima ‘grattsje Sempre Ia prima, grazie! Always the first one (to arrive), thank you! (to the ladies that follow) ‘siete delittsjoze Siete deliziose! Youlook charming! ABATE ‘uno ‘skripno di ‘demime Uno serigno di gemme. A casket of jewels PRINCE uy kanestro = dite Un canestro. = di_——rose. A basket of roses. PRINCESS la mia ‘festa vatitende Lamia festa viattende... My — party awaits you...280 Adriana Lecouvreur, Act IIT ABATE (with malicious intention) vera la Tokuvreer Vern Ia Lecouvreur. Willcome — _La_—_Lecouvreur. PRINCESS (referring to the ballet to be presented that evening) il dsudittsjo di ‘paride "N — giudizio di Paride. "The judgement of -—~Paris... ABATE (to the Prince) un intkanto um portento ‘Un —_incanto, un portento! An enchanting work, = a_——triumph! PRINCESS balletto = di fafloer Balletto di Champfleur. A ballet by — Champfleur. PRINCE io ne ‘sono felitfe To ne sono felice. I overit am happy. ABATE si per la._printfipes:sa Si, per Ia_—_—Principessa, Yes, for the Princess. PRINCESS no per la. ‘grande attritfe No, per la grande attrice. No, for that great actress. THE MAJORDOMO (from the back, announcing) madamidselila lokuvrcer Madamigella Lecouvreur! Mademoiselle Lecouvreur! (Adriana enters on Michonnet's arm. She is not wearing the diamond necklace the Queen ‘gave her, a fact that the jealous Princess does not fail 0 notice.) PRINCE (to Adriana) vennite damimirar _pju dapppresiso i vostriinkanti Venite. D'ammirar pitt d'appresso iivostri ineanti Come. Toadmire more closely your charms ‘son ljeto evi riggrattsjo son lieto © ——_viringrazio. Tam pleased and I thank you. (Do come. I am so pleased to be able to admire your charms so closely, and I thank you...)Adriana Lecouvreur, Act IIT 281 ADRIANA (to the Prince) io son komyfuza Jo son confusa... 1 am overwhelmed... PRINCESS (to herself, with a start, catching the timbre of her voice) ‘Yelo Cielo! Heaven(s)! ADRIANA komumossa io son per_—si_— ‘grande onor Commossa io son’ per si_—_grande onor. Moved 1 am by sucha great honor. lartista antfella ‘della ‘muza Liartista, _ancella della Musa, ‘The artiste, handmaiden of the Muse, ‘tutte le ‘grattsje € le dottfettse tutte Ie grazie € — Iedoleezze all the charm and kindness im voi mira. ed_~—il_—_—‘fugor in voi mira ed il_fulgor. in you sees and the —_splendor. (sees all charm, kindness and splendor in you.) PRINCESS (to herself) o —‘kwelila'votfe fosise mai no'nozo pur penisarlo Oh! quella voce! Fosse mai! non oso pur — pensarlo. Ob! That voice! Coulditbe! Idonttdare even to think it. unattritfe © — perke no e€ la sua ‘votfe ‘Un'attrice? «= EE perch no? E la sua voce Anactress? And why not? Itis her —_voice. (From all sides, admirers flock to Adriana.) ‘ekiko la'doran ‘tutti io Io sapro Ecco, l'adoran _ tutti. To _losapro. There, they adore her, all ofthem. I shall find out. ABATE ‘printfipe _sinkomintfa Principe, _s'incomincia? Prince, can we begin? PRINCE | atten'djam matrittsjo Attendiam Maurizio, We are waiting for Maurizi